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GR Majork ARTHUR DE BLES 


Author of “The Illustrated Outline 
of Art Culture,” etc., etc. 


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More than 4oo Illustrations 











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FOREWORD 


who visit the great Museums of the world, either 

in this country, where large numbers of the great 
masterpieces of bygone centuries are now congre- 
gating, or the grand old galleries of Europe, that the 
pleasure to be gained from the religious pictures of 
the 9th-16th centuries is in a great measure lost, 
unless one is able to understand their symbolism, and 
to recognise the personages portrayed, by the attributes 
and emblems which render them distinguishable. 
And one should bear in mind that almost seventy 
per cent. of all pictures painted, at least up to the end 
of the 15th century, at the zenith of the High Renais- 
sance, treated of religious subjects, and were painted 
for churches or the private chapels of the powerful 
rulers of the small states, into which Italy, France, 
and Flanders were then divided. 

Now, just as in Gothic architecture, every portion 
of a cathedral or church had its symbolic significance, 
so has every item in the splendid altar-pieces or mural 
paintings depicting the Divine Trinity, the Virgin 
Mary alone, or with Her Child, the Holy Family, the 
Evangelists and Apostles, the Fathers of the Church, 
the Patron Saints, the Monastic Orders, and so forth. 

In all such pictures the placing of the personages 
was effected according to hierarchical laws laid down by 
the Church, and in addition to the added enjoyment 
one can find in the understanding of what has hitherto 
been largely a sealed book—as far as laymen are con- 
cerned—the knowledge of these laws will often help in 
attributing a picture, and deducing, from the evidence 
on its face, its history and origin. 

It has been our aim, in compiling this monograph, 
to make the practical information, actually required 
when walking through any picture gallery, so easily ac- 
cessible that no valuable time is wasted in wading through 
masses of descriptive matter, which, while of incalcu- 
lable importance to the student in his library, is never- 
theless liable to obscure the vision of those who want 
to find a concrete, definite, fact as quickly as possible. 
Believing, with Napoleon, that “the slightest sketch 
explains more than the longest discourse,’’ we have 
endeavored to illustrate our book as profusely, and 
at the same time, in as practical a manner, as lay 
in our power. ‘There is no longer any questioning of 
the principle that comparative illustrations offer the 
best means of instruction, and so, instead of following 
the only too common practice of reproducing curious 
and little-known works, we have chosen, throughout, 
typical treatments of every section of the subject dis- 
cussed in this book, in order that our readers may gain 
a clear impression of the accepted rule in each case. 
The exceptions can always take care of themselves. 

We have endeavored to explain, in as few words as 
possible, the symbolic meaning of the costumes, acces- 
sories, and even the attitudes, of the personages of the 
Holy Trinity, of the Mother of Our Lord, and of the 
Saints, but in respect of the latter, we have not at- 
tempted to give lengthy descriptions of their lives and 
deaths, for too many practical and inexpensive works 
on this branch of the subject are at the disposal of 
those who require such information. 

It has been our own experience during the course 
of our lecturing that the alphabetical lists of the dis- 
tinctive attributes of the saints which form an impor- 
tant part of many books on the subject, offer difficulties 
of interpretation to all save those who are already 
more or less familiar with sacred pictures and sculpture. 
The tyro is frequently unable to distinguish the special 
symbol or attribute, particularly in cases where various 


[ IS BECOMING more and more clear to those 


attributes may be given to a saint, as for example, 
St. Barbara or St. Catherine. 

Now the first thing one notices, in looking at the 
picture of a saint, is the costume he or she is por- 
trayed as wearing. Therefore, on condition that the 
peculiarities of each costume are known, a classifica- 
tion of the saints by their costumes must save an 
immense amount of research, and prevent very obvious 
errors. At the end of this volume will be found classi- 
fied in this manner some 350 Saints who appear in the 
works of the old Masters, supplemented by an alpha- 
betical general index. 

More than 100 Madonna pictures, 14 Coronations, 
400 pictures of Saints alone or in groups, 11 Annuncia- 
tions, and so forth, afford possibilities of comparison 
and study such as have never before been offered to 
the public. More than 300 Artists and almost 1000 
Pictures are mentioned, 

A carefully compiled Index of Illustrations, by cate- 
gories in alphabetical order, and lists of Artists, 
Museums and Churches where works by such Artists 
can be seen should make this book valuable for 
reference purposes. 

In addition to this important list, the reader will 
find a totally new table of Martyrdoms in alphabetical 
order, so that pictures of saints undergoing torture, 
or being executed, may be immediately understood, 
and the principal personages identified; an alpha- 
betical list of some 400 attributes and symbols with 
the saints who bear them; a chronological list of the 
Popes from St. Peter till the end of the Grand Period 
in art; and other tables of inestimable value to those 
who desire to extract the full mead of enjoyment 
from their visits to the great picture galleries of the 
world. 

It will be found that in several places we have 
drawn attention to mistakes of fact, dates, etc., in other 
books on the subject, even in Mrs. Jameson’s monu- 
mental work in several volumes which will always 
remain the classic for library students—but we have 
done so in no spirit of caviling, and with the sole inten- 
tion of preventing misunderstanding. Similarly where 
recent research has given certain pictures to artists 
other than those who were until then considered to 
be their authors, we have mentioned both the old and 
the new attributions. 

Finally, let us remark that we make no claim for 
infallibility either, and that our readers will surely find 
errors in this book as we find them in those of others, 
but at least they can rest assured that every precaution 
has been taken to check up all dates, Bible and classical 
references, the spelling of foreign words, correct orthog- 
raphy of names, and so forth, using the latest and 
soundest reference works for that purpose. 

In conclusion, we should like to point out that this 
work is intended for practical use in the hands of art- 
lovers, and is in no way designed as a complete list of 
Christian saints. Hundreds of local saints never appear 
at all in Art, and these are equally absent from our 
book. Others only appear in ancient missals and 
stained-glass windows. These also are only mentioned 
where they have a direct interest for the student. 


OTHER WORKS BY MAJOR ARTHUR DE BLES 


ART 


THE THREE STYLES OF GOTHIC ARCHITECTURE, and how to distinguish them. 
FRENCH PERIOD FURNITURE STYLES, and how to distinguish them. 

OLD ENGLISH FURNITURE STYLES, and how to distinguish them. 

CHINESE PORCELAINS, their history, and how to distinguish their periods. 
JAPANESE COLOR PRINTS, their history and how to judge them. 

WALLS AND THEIR DECORATION. 


IN PREPARATION: 


THE ART AND PRACTICE OF INTERIOR DECORATION, for professional and amateur. 
EARLY ITALIAN SCHOOLS OF PAINTING, and how to undertand and distinguish them. 
FLEMISH PAINTERS OF THE RENAISSANCE, and how to understand and distinguish them. 


THE DUTCH MASTERS OF THE 17th CENTURY, and how to understand and distinguish 
them. . 


ENGLISH AND FRENCH ART OF THE 18th CENTURY, its masters, and how to understand 
and distinguish them. : 


MODERN SCHOOLS OF PAINTING AND SCULPTURE, what they are driving at, and 
striving for, 
MUSIC 
THE POST-BEETHOVEN SYMPHONISTS; translated into English from the German of 
Felix Weingartner. 


Chopin, ? Homme et sa Musique; translated into French from the English of James G. 
Huneker. (Out of Print.) 


IMPRESSIONS OF A FIRST VISIT TO BAYREUTH (1902). (Out of Print.) 
A NEW MUSICAL MASTERPIECE; PELLEAS AND MELISANDE (1902). (Out of Print.) 


WAR AND POLITICS 
THE CAUSES OF THE GERMAN DEFEAT: a study of the allied strategy from 1914-1918. 
(Delivered 784 times as a lecture.) 


THE SIXTEENTH DECISIVE BATTLE OF THE WORLD: THE MARNE 1914. (Delivered 
212 times as a lecture.) 


THE STRATEGIC IMPORTANCE OF THE FIRST BATTLE OF YPRES, 1914. (Delivered 
140 times as a lecture. 


THE BATTLES OF VERDUN, 1916-1918. (Delivered 221 times as a lecture.) 
THE FIRST GREAT ALLIED OFFENSIVE: THE SOMME, 1916. 
THE: “BATTLE OF FRANCE 1918,” AND AMERICA’S GLORIOUS ACHIEVEMENT. 


THE NEED OF MINISTER OF SHIPPING: a study of conditions in the British Mercantile 
Marine (1904). 


TABLE OF CONTENTS 


CHAPTER I. A General Review of the Rise of Sacred Art, from the Commence- 
ment of the Christian Era, the Origins of its Symbolism, and its 
Gn Cra IP MUICAN CE, ae oe ele 8 Ras 
CHAPTER II. Of the Distinction between Symbols and Attributes, and between 
Devotional, Votive, and Narrative Pictures. ......... 
Cuapter III. Of the General Symbols Employed in Sacred Art ........ 
EL ew Yall DOINST eC IO (SMES ort unten a aRe SR aks car oe 6 va. S. os 
CHAPTER IV. Devotional Portrayals of, and Symbols for, the Members of the Holy 
CLE LY a ere PANE ae). MM RE Gos 
CHAPTER V. Of the Virgin Mary, and the Different Aspects under which She is 
OGRA Vet lie At Came enn Mca igs RIS crt gs Ie y lea 
The Madouna-watnoutehe: Child... ge.) Gos, ta ofa 
ites Vaden anurenudshictirGia, tem s, wines ky Geile oa, 
ibhespecial symbols ofthe Virgin. Marye, $09. .21°...7. (6s 
The, Colors. used for the Garments of the Virgin... ......: 
CHAPTER VI. Of the Heavenly Hosts and Their Hierarchical Rendering in Art . 
Wrapiern V1). Of the Evangelists and Apostles. ..0. 2 «uta we Sk we 
CHAPTER VIII. Of St. John the Baptist and St. Mary Magdalene ........ 
CHAPTER IX. Of the Doctors of the Latin and Greek Churches. ........ 
CHAPTER X. Of the Patron Saints of Christendom, the Virgin Patronesses, and the 
FourrGreat Virgins oithestatin Church os «i a eee 
Tables of the Patron Saints of Countries, Cities, Classes of Society, 
Professions and Trades, and against Sickness and Disease 
CuHapTER XI. Of the Hermits and the Monastic Orders, their Founders and Dis- 
{actives is tM CSem ane eet eee nce eee ee foie ee 
CHAPTER XII. Historical or Narrative Pictures of the Lives of the Virgin Mary and 
Hers Livinet Son tt avatar y cite nee ate a yoehekcatten 5 tek 
Old} Testament subjects depleted In Art. LC ama ee eens ee 
APPENDICES 
I. Alphabetical Table of Martyrdoms, showing how the Martyr-Saints suffered and 
Hadras Cepicted: IAA Tio sions: anton pease at eke ht An toes 
II. Tables of 320 Saints, classified according to their Habitual Costumes, with the 
date of their Deaths, their Monastic Order (where any), their Attributes, etc. 
III. The Saints classified according to their divers categories, e. g. Contemporaries of 
Our Lord; the Greek Martyrs; Roman Martyrs; the Martyrs of Northern 
and Central Italy, France and Spain; etc. SELLE mae OS aimee 
IV. Alphabetical Tables of the Symbols and Attributes of the Saints, with the 
Names: of those: who bear thems, oc co. cy gee este ; 
V. Chronological Table of the Bishops and Popes of Rome, from St. Peter up to the 
endsof the: 16th: Century csr eet eee is eee ee et 
Vi.bist of Jiustrations classed alphabetica Wve. aaeas eee ae 


VII. Complete Alphabetical General Index 


Teas ey iatat) Maumee ay Mish e rtewe tae meth cgi h ey bern, Per Trent "len ie 


109 


136 
142 


144 


145 


P52 


161 
163 








BY ENGUERRAND CHARONTON (See Page 7). (Courtesy of Mr. Guy Eglinton). 


” 


*“CORONATION OF THE VIRGIN, 








ich Galleries). 


THE LEFT WING DEPICTS THE “NATIVITY, 


(Courtesy of the Ebr 


” 


1550). 


FLIGHT INTO EGYPT. 


e 


TRIPTYCH BY HERRI MET DE BLES (1480- 


EGE Se a 
Seale aR scp cal 


. 


WHILE THAT ON THE RIGHT REPRESENTS THE 


ADORATION OF THE MAGI 


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THE SYMBOLS AND ATTRIBUTES 


Ole Wale 


SAINTS 


PN ART 





HAPTER! 





A GENERAL REVIEW OF THE RISE OF CHRISTIAN 
ART FROM THE COMMENCEMENT OF THE CHRISTIAN 
ERA, THE ORIGINS OF ITS SYMBOLISM AND ITS 
GENERAL SIGNIFICANCE 


of, and interest in, paintings of the gth to the 16th 

century—that category of pictures which goes 
under the name of “The Old Masters’’—it is becom- 
ing more and more important that those who would 
learn to love such pictures, could they but under- 
stand their subject and symbolism, possess some 
practical aid to their “‘reading,”’ in order to extract 
from them their full cultural value. 

It should be borne in mind that pictorial repre- 
sentation of sacred subyects—which class constituted 
the vast majority of early paintings, both of the 
Italian and the northern schools till well mto the 
Cinquecento, the 16th century—was originally per- 
mitted by the church as an additional means of pro- 
pagating the faith, in the days when books were still 
rare and very costly, outside the reach of all save 
the wealthy clergy and nobles, and such rich dilet- 
tanti as, for example, Pico della Mirandola. 

In those days, the education of the masses, such 
as it was, lay entirely in the hands of the clergy, who, 
once the principle of pictorial representation was 
admitted, ordained not alone which subjects were to 
be depicted, and which to be eschewed, but even the 
manner in which the holy or saintly personages were 
to be clothed, what colors were to be used for their 
clothing, and the hierarchical order in which they 
were to appear in group pictures. Every detail had 
its significance in the established protocol of the 
Roman Catholic Church. 

No better example of the manner in which the 
church mstructed its artistic servants, and thus both 
encouraged and hampered the cause of true art— 
encouraged it by the profusion of commissions issued, 
and hampered it by the restrictions in composition, 
both of color and line, which were imposed upon the 
artists—than the following translation of a contract 
dated April 14th, 1453, between the Seigneur Jean 
de Montagnac—a Pyrennean name—and the painter, 
Enguerrand Charonton, for an altar-piece to be set 
up in the Chapel of the Carthusian Monastery at 
Villeneuve-lés-Avignon. The subject was “‘The Cor- 


[: THESE DAYS of constantly increasing knowledge 


onation of the Virgin,” a popular one with all early 
masters. This contract was published in an article 
by Guy Eglington in the March, 1924, issue of the 
International Studio, with the following translation: 

Followeth hereafter the ordering of the altarpiece 
which Messire Jean de Montagnac willeth be made by 
Master Enguerrand, painter, to be placed in the church 
of the Carthusians at Villeneuve-lés-Avignon, on the 
altar of the Holy Trinity. 

First there shall be the form of Paradise, and in this 
Paradise shall be the Holy Trinity, and between Father 
and Son shall be no difference; and the Holy Spirit in 
the form of a dove, and Our Lady, before, as shall seem 
best to the said Master Enguerrand; and on the head 
of Our Lady, the Holy Trinity shall be placing a crown. 

Item: by the side of Our Lady shall be the angel 
Gabriel with a certain number of angels, and on the 
other side Saint Michael with such number of angels as 
shall seem best to the said Master Enguerrand. 

Item: on the other band [the left side] Saint Jobn 
the Baptist with other patriarchs and prophets according 
to the judgment of the said Master Enguerrand. 

Item: on the right side shall be Saint Peter and 
Saint Paul with certain number of other apostles. 

Item: on the side by Saint Peter shall be a martyr 
pope over whose head an angel shall be holding the 
tiara (tierre), together with Saint Stephen and Saint 
Lawrence in the habit of cardinal deacons* with other 
Holy Martyrs to the ordering of the said master. 

Item: beside Saint Jobn the Baptist will be the con- 
fessors, that is to say Saint Gregory in the form of a pope 
as above and two holy cardinals, one old and one young, 
and Saint Agricola and Saint Hugh, bishops (Saint 
Hugh in Carthusian habit), and other saints according 
to the judgment of the said master Enguerrand. 

Item: on the side of Saint Peter shall be Saint 
Catherine with certain other virgins according to the 
judgment of the said Master Enguerrand. 

Item: on the side by Jobn the Baptist (sic!) the two 
Marys, the Magdalen and the mother of James, and 
Salome, each of them holding in her hands that which 
she ought to bold, together with other women according 
to the judgment of the said Master Enguerrand. 

Item: shall be in the aforesaid Paradise some of 
every buman estate to the ordering of the said Master 
Enguerrand. 





* A curious error, for St. Stephen and St. Lawrence were deacons, not cardi- 
nal deacons. 


PLATE I THE SAINTS IN ART 


SIMPLY AN ORNAMENTED 
GOLD PLATE WHICH 
FRAMED’ THE HEAD 
EVEN WHENTHE HOLY §£ 
PERSONAGE,WITH HIS fs USED IN CONJUNCTION 
OR HER BACK TURNED \ WITH THE ANCHOR OF 
2. TO THE SPEC- OVS WE b/s!) SNe HOPE IN THE CATA- 
SEN TATOR, HAD rong Mae Hate AS = COMBS. NOTE THE USE 
¥\) To LOOK WSs Rs = OF "C” INSTEAD OFS" IN 
Rue] STRAIGHT IN- INS SSE ; 
7 TOTHE SOLID LESS 
DIS (34.2) gale 


4 
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8. THE FISH EMBLEM 


a4 SM 
WHICH CHRIST 1S PORTRAYED BAe are 
AS ORPHEUS (see Aige72), THE 8 eee RS 
COMPARTMENTS OF THE 


RECTION. 4) DANIEL, oF FORTITUDE 
AND DIVINE ASSISTANCE IN TROUBLE . I 


9. OUR LORD SYMBOLISH) 
AS THE “LAMB OF GOD: 

OF MASOLINO (/354-cH#o) 

MADE A FIRST STEP HAN 11. YOUNG CHRIST 

TOWARDS A MORE - sae i (| JAN HOLOING 

RATIONAL TREATMENT 7 HEXAGONAL 


ATT 

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4 IT WAS NOT Tite Masaccio TENTS 


CANE ALONG (/401- 1428) 


TO ALLEGORICAL FIGURES. 
(Sa tov IL . Nimavs) Ofte a 


fresco-by Giallo) 


12. CHRIST ON A BANK OF 
GOLD CLOUDS SUR- 
- ROUNDED BY 

SAINTS. LEFT: 

ST PETER PRE; 


STCOS- 


THAT THE NIMBUS WAS MADE 
To" HOVER’ OVER THE SAINTS’ 


THE “LABARUM 
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40. THE LABARUM. 
CONSTANTINE'S 
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HEADS. Wf 
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5. CRUCIFE ROUS (CROSS: BEARING) ra HOS 


OF THR CHURCH. ZS) THEOpesUs IN THE 
‘ : THE EMPEROR, 2a SBNTS CHRIST 
NIMBUS USUALLY GIVEN TO CHRIST ON Riaur: ST.PAUL PRESENTS ST D MULAN yo THEPRIELE APOSTLES AS Lamas 
4. The solid gold ‘‘plate’”’ which was employed by all early mosaic workers and painters to indicate the saintly character 
of the personages in their pictures, began to become lighter with Fra Lippo Lippi (1406-1469), the famous pupil of Masaccios, 
although the gay Carmelite friar still used the opaque disc nimbus in some of his early works. Indeed, in some few works, e. g. 
The Annunciation, in the Doria Gallery in Rome, he painted the nimbus as in Figures 1 and 2, but usually it is in perspective 
as in Figure 4. Then he began to use a delicate nimbus of filmy gold lace stretched, as it were, over a circular wire loop, as in 
Plate XIII, Figure 5. Towards the end of the 15th century the nimbus became a simple circular fillet of gold, and then dis- 


appeared entirely. Occasionally a saint is seen with a square nimbus, which indicates that he was living at the time the picture 
was painted. ; 








Item: above the said Paradise shall be the beavens 
in which will be the sun and moon according to the judg- 
ment of the said Master Enguerrand. 

Item: after the heavens the earth, of which shall be 
shown a portion of the city of Rome. 

Item: on the side of the setting sun shall be the form 
of the Church of Saint Peter of Rome, and [the] front 
of the said church at the portal bas a cone of copper and 
ilex, [whence] one descends by great steps into a large 
square leading to the bridge Sant’ Angelo. 

Item: on the left side of the said square is a portion 
of the wall of Rome and on the other side are houses and 
shops of all manner of men; at the end of the said 
square is the Castel Sant’ Angelo and a bridge over the 
Tiber which is in that city of Rome. 

Item: in the said city [Rome] are many churches 
among which is the church of the Holy Cross of Jerusa- 
lem, where while Saint Gregory was celebrating, to him 
appeared Our Lord in the form of a Pieta, of which 
shall be painted the story according to the ordering of 
the said Master Enguerrand, in which story shall be 
Saint Hugh, Carthusian, assistant to the said Saint 
Gregory, with other prelates according to the judgment 
of the said Master Enguerrand. 

Item: looking from Rome, the Tiber shall be shown 
entering into the sea, and on the sea a certain number 
of galleys and ships. 

Item: beyond the sea shall be a portion of Jerusa- 
lem, first the Mount of Olives on which shall be the 
Cross of Our Lord and at the foot thereof a praying 
Carthusian, and a little further shall be the sepulchre of 
Our Lord-and an angel above saying: Surrexit, non est 
hic; ecce locus ubi posuerant eum. 

Item: at the foot of the said sepulchre will be two 
praying friars; on the right hand the valley of Jebosa- 
phat between two mountains; in which valley a church 
where is the sepulchre of Our Lady and an angel above 
saying: Assumpta est Maria ad aethereum thalamum 
in quod rex regum stellato sedit solio; and at the foot of 
that sepulchre a praying friar. 

Item: on the left side there shall be a valley in which 
there will be three personages of a like age; from each 
of them will spring rays of light, and there sball be 
Abraham coming from bis tabernacle, and worshipping 
the said three personages, saying unto them, etc. 

Item: on the second mountain will be Moses with 
bis sheep and a young boy playing upon the bagpipe, 
and there appeared to the said Moses, Our Lord in the 
form of a fire in the midst of a bush and Our Lord will 
be saving to Moses: Moses, Moses! And Moses will 
reply: Assum. 

Item: on the left [sic] side will be Hell; and be- 
tween Purgatory and Hell will be a mountain; and on 
the side of Purgatory above the mountain will be an 
angel comforting the souls in Purgatory; and on the 
side of Hell will be a greatly deformed devil on the 
mountain, turning bis back on the angel and lying in 
wait for certain souls in Hell which, by other devils, are 
driven towards him. 

Item: the said altarpiece shall be made all in fine 


oil colors and the blue shall be fine blue of Acre except- 
ing that which shall be laid on the border which shall be 
fine blue of alamigne (Germany), as around the altar 
piece shall be fine gold and burnished. 

Item: the said Master Enguerrand shall show all 
bis science in the Holy Trinity and the Blessed Virgin 
and for the rest according to his conscience. 

Item: the back of the altarpiece shall be painted 
with a fine cloth of crimson damask all figured with 
fleurs-de-lys. The 14th day of April, 1453. 





There is considerable attention drawn, in the 
wording of this document, to the fact that Master 
Enguerrand could “use his judgment,” or ‘‘act 
according to his conscience,” from which one would 
be Ied to wonder if this painter, possessed of the 
“frondeur” (‘‘kicking’’) spirit of his race had not 
been objecting to the settlement by his patron of so 
much of the detail. The phrases of this sort appear 
so frequently as to appear almost conciliatory. And 
can one be surprised if an intelligent painter did 
grumble at the ordering of a picture, with so little 
left to his imaginative powers and sense of balance 
and composition. 

Interference, moreover, went very much further 
than simply declarmg what subjects were to be 
depicted and how. To understand this it is necessary 
to go back to the beginings of Christian Art in the 
days when the followers of the new faith were either 
actually bemg persecuted, or lived in fear of a recru- 
descence of former persecutions. 

As a result thereof, their artistic endeavors were 
more or less concealed, and produced in their under- 
ground “‘burial-clubs” or catacombs, the regular 
entrances to which were destroyed during the earlier 
persecutions and new underground secret passages 
constructed, The early Christians were not very far 
removed from their pagan kindred, and it must 
be remembered in this connection that they were 
not a different race nor differently educated, but 
Romans converted to Christianity as a new and 
beautiful doctrine based on the Golden Rule. So it 
is not difficult to realize how it was that they retained 
so many of their old customs on adopting the new 
creed, nor why they were not required to abandon all 
their belongings of a pagan character, so long as they 
were ready to throw away whatever had been 
offered “‘in sacrifice to idols.” 

Naturally, the childhood training of many of these 
converts could not be eradicated instantly, and so we 
find pagan symbols and symbolism used constantly in 
early Christian iconography. Even the nimbus—of 
which I speak more fully Iater—the outstanding 
symbol of canonisation in the eyes of most people 
—was simply a borrowed pagan symbol in use so 
far back that it is mentioned in the Iliad of Homer 
(940-850 B.C.). It represented originally a JIuminous 
nebula derived from the Divine Essence, and so came 
to symbolize power. Many Roman emperors are 
portrayed with a nimbus of rays, while a compara- 


REA EL THE SAINTS IN ART 


r 











— 


ASPECTS OF 


i ~ F Aly THE ALMIGHTY 
..\ SEAN | || AND OUR LORD | 








kei Re 3 
Upper left corner: The haces Pieta by Given Bellon isa forts ef he ai ucharcde Ecco Homo” Bis 37) though 
not in its usual style. Upper centre: Mazzolino’s Holy Family in the London National Gallery, with the Almighty and 
Dove of the Holy Ghost suspended above the head of the Madonna. Right: A ‘‘Last Judgment” as conceived by Roger 
van der Weyden, with the Saviour seated upon a rainbow, overlooking the Archangel Michael weighing the souls of the 
Arisen. Note the Archangel’s long gown (see p. 52). On the left of the head of Christ is a Lily for the Blessed, and on 
the right, the sword of punishment for the damned. Centre left: A modern interpretation of God the Father by von 
Cornelius in the Ludwigskirche in Munich. Note the Sun and Moon, and the various choirs of angels each with its own 
special attribute (see p. 50). Lower left: The celebrated ‘Dead Christ” by Mantegna im the Brera certainly inspired 
Rembrandt’s still more famous ‘“‘“Anatomy Lesson” in the Hague. Though called a Pietd, it is really a study in anatomy 
and foreshortening, and is lacking in reverence. Low right: This picture by Giovanni d’Alemagna and Antonio Vivarini 
is fully described on page 77. 


eae cca tr aie: 


IO 


tively late example of the secular application of the 
halo is to be found around the head of the Byzantine 
“Emperor Justmian amid His Ministers” pictured 
in mosaic in the old church of San Vitale at Ravenna 
which dates between 525 and 534 A.D., though the 
mosaics are later. This particular group must be so, 
for Justinian only retook Ravenna in 539. Again 
we find the nimbus in a hexagonal form used to indi- 
cate allegorical characters even In pictures so late as 
those of Giotto in the Lower Church at Assisi. (See 
Plate I). 

The necessity for concealment, by the Christians 
of their conversion, from the persecuting Roman 
emperors and their minions, was another cause of the 
retention of many pagan symbols and types. Thus 
we find such interesting depictions as that repro- 
duced on Plate I from a painting in the Catacomb of 
St. Callixtus in Rome, where Our Lord is depicted 
in the character of Orpheus with his Jute, and the 
use of the Fish to symbolise the Saviour, because the 
Greek word for fish, IXOY, is an anagram of the 
initial letters for the Greek phrase ’Insot¢ Xetotés, 
@cod Yidc, Lwtne (Latin: Jesus Christus Dei Filius 
Salvator) meaning Jesus Christ, the Son of God, our 
Saviour. The Romans were a humorous people, and 
we can picture their delight, almost see them looking 
with their tongue in their cheek, in spite of all their 
self-denying adherence to their new faith and their 
cheerfully-accepted sufferings, at these representa- 
tions intended to hoodwink their cruel persecutors. 

Now im the early days of Christianity, that Is to 
say in the three centuries which followed the Resur- 
rection of Our Lord, the feeling of His disciples and 
Iater followers towards Him was not so much a 
religious adoration as a profound admiration for a 
great teacher, and strange though it may seem—even 
to those of us who still live in an age of hero-worship 
of another and less noble form—He was almost 
secondary In many ways to the authentic martyrs, 
who died after suffering abominable tortures rather 
than deny their new Master. A reason for this, one 
which I have never seen advanced elsewhere, yet is 
surely logical, is probably to be found in the fact that 
apart from the Apostles a large proportion of the 
earliest authentic martyrs—as opposed to the few 
legendary sufferers—were either of high birth or of 
great learning, or both, and therefore well placed to 
capture the fancy of the “common herd”’ of unedu- 
cated converts, who could not help but exalt them 
from natural Jeaders into supernatural heroes. St. 
Adrian (A.D. 290), St. Agatha (251), St. Barbara 
(303), St. Blaise (316), St. Catherine of Alexandria 
(307), St. Sebastian (288), St. Eustace (118), St. 
Cecilia (280) and many others of the favorite saints 
were of royal or noble birth, while others, such as St. 
Lawrence, became heroes to their fellow Christians 
because of the purity of their lives, the staunchness 
of their support of the new faith, and the mdomitable 
spirit in which they suffered torture and martyrdom. 

And so we find the beginnings of this saintly 


II 


iconography to be but one more aspect of that same 
spirit which gave popularity to a consistently success- 
ful gladiator, a victorious athlete, or, in the present 
day, a skilful matador, a conquering general, or an 
outstanding home-run getter. This comparison is less 
trivial than it sounds at first, for emulation is the 
motive force of progress, and a people with nothing 
at which to look upwards will soon be walking over 
the ashes of the past with downcast eyes. 

Presently, however, the figure of Christ began to 
stand out, as time Ient majesty to His sacrifice, and 
the ever-increasing thousands of His followers in- 
vested Him in the thoughts of the imperially- 
minded Romans with a regal grandeur and aloofness. 
Then He became one with God the Father and the 
Holy Ghost, a member of the Divine Trinity, too 
exalted for direct hearing of pleas and prayer. 

And so the saints, from being popular heroes, in 
whom the new converts felt an admiring interest, 
became the intercessors of the people at “‘the Court” 
of a wellnigh maccessible Deity. This explains to a 
great extent the enormous number of Christian saints, 
and their high standing in the minds of the people. 
Each town, and even smaller communities, had its 
patron saint, to whom the imhabitants addressed 
themselves for aid in everything, from the loss of a 
silver coin to the desire for a son and heir. Further- 
more, many varieties of illness, and other worries and 
troubles, became the particular province of certain 
saints, as, for example, St. Apollonia, who is the pro- 
tectress against dental afflictions, while French 
peasants still pray to St. Anthony of Padua to help 
them recover some lost object, and their women offer 
prayers to their patron that they be rendered fertile. 

Now, one would think that with the general 
recognition of the Christian religion by the Emperor 
Constantine, and his swiftly-succeeding edicts mak- 
ing the Christians monarchs of all they surveyed, 
and an offence, punishable by forfeiture of half one’s 
worldly possessions, to insult an adherent of the 
Faith, one would think, I say, that the troubles of 
the Christian artist were over. They were only just 
beginning! For now the Church was not at all con- 
vinced that pictorial representation of sacred sub- 
jects by semi-educated Iaymen supported the dog- 
matic teachings of the clergy, who naturally were 
still gropmmg amid hair-splitting reasonings and de- 
bates for the final “‘form”’ of the religion’s adminis- 
tration. Everything having to be, as It were, codified, 
which task was in the hands of the most learned of 
the Fathers of the Church, there was good reason for 
apprehension that freedom for composers of sacred 
subjects might lead to embarassing contradictions. 

Gregory II might exclaim that ‘Painting is em- 
ployed in churches for the reason that those who are 
ignorant of the scriptures may at least see upon the 
walls what they are unable to read in books,” but 
St. Augustine spoke of sacred pictures as “‘the 
books of the simple”’ of which the first duty was to 
teach. And the hierarchy had no intention of allow- 


ing the “libri idiotorum”’ to give instruction to the 
simple along lines which did not run parallel to the 
verbal teachings of the clergy. 

At the Ccumenical Council of the Church, 
at Nicea in Asia Mmor, known im history as the 
Nicene Conference (A.D. 325), convoked and pre- 
sided over by the Emperor Constantine, who favored 
Christianity from the year 319 though he himself 
was not baptised until shortly before his death in 
337 A.D., rigid laws were laid down concerning the 
treatment of sacred subjects. It was ordained, for 
example, that the human body, even that of the 
Infant Christ, must be entirely clothed m order that 
no question of the flesh might obscure the spiritual 
issue. Even the feet were to be hidden, and only the 
hands and face exposed. This rule was adhered to 
up till the time of Giotto, and we see in the Ma- 
donnas of Guido da Siena, Cimabué and Duccio 
exactly how the ruling was carried out. And further, 
through a slavish adherence to pure Byzantine tra- 
dition, the Russian 1kons—sacred pictures—up to 
the recent revolution, still portrayed the Holy Per- 
sonages in the same many-folded, gold-striped gar- 
ments, covering every inch of the body, as those in 
the 8th and oth century Byzantine pictures and 
mosaics. 

Even then the troubles of the artist were far 
from being smoothed over, for with the accession to 
the throne of the Eastern Roman Empire, or Byzan- 
tium, of Leo the Isaurian, the Iconoclast, as he is 
often styled—in 716 A.D., the churches of both 
East and West were, by his order, cleared of images, 
and the “symbols of idolatry” destroyed. Pope 
Gregory II, mentioned above as an ardent supporter 
of pictorial teaching—what we call today “‘teaching 
through the eye’’—fought the execution of this edict 
and excommunicated its author, severing him and 
his followers from all connection with the true 
Catholic Church, an action which played a great role 
in history, through the alliance of Rome with the 
French Carlovingian monarchs, for it established the 
temporal power of the Papacy (755 A.D.). In 
return, France became known as the “‘Elder Daugh- 
ter of the Church.” 

From that time, in spite of the rigid laws under 
which it Iabored, art began its gradual enfranchise- 
ment, and as it grew stronger, as painters 
grew more skilful with their medium, so that it 
became an easily-wielded instrument im their hands, 
art stepped out of its swaddlmg clothes, refused to 
take orders and finally, even in the depiction of sacred 
subjects, thrust aside the spiritual, mm favor of an 
almost entirely material, interpretation. Men having 
Jost much of their medieval naiveté, were willing to 
look at religious pictures and love them for what they 
represented, but refused any Jonger to be hood- 
winked as to their meaning. 

So, as, with the Renaissance, the arts prospered and 
education became commoner, symbolism changed, 
became less mystic and simpler. The Holy Trinity 


12 





commenced to inspire less awe. Not only did Jesus 
Christ begin to appear Iess far beyond the reach of 
suppliant mankind, but even God the Father, who 
at first was represented simply by a hand appearing 
out of a cloud, began to be portrayed in human 
form, thus showing that the artists of this later day 
Iooked upon the Almighty more as a benevolent 
Father who loved unworthy man so deeply that He 
had given His Son as the Redeemer, than as a cruel 
tyrannical overlord, in whose eyes man could do no 
right and who had ordained terrible punishment for 
all who committed the unavoidable sins. 


“What! out of senseless nothing to provoke 
A conscious something to resent the yoke 
Of unpermitted pleasure, under pain 
Of everlasting penalties, if broke! 
Omar KHAYYAM 


an ironic quatrain which expresses perhaps more 
than any other written line the new spirit, the new 
“feeling” towards the personages of the Holy 
Trmity. And nothing betrays the “‘humanizing” of 
religion more than the growth of the ‘‘Mother and 
Child” motive in art. This motive, for obvious 
reasons destined to have a mystic significance, is to 
be found in the arts of all countries, much older than 
Christian Art. The Chinese portray Kuan-yin, 
“‘Hearer of Cries,’ with a child in her lap; the 
Egyptians worshipped the goddess Isis holding her 


greg 


iva 


\ AY, / VW 


PORCELAIN STATUETTE OF THE CHINESE BUDDHIST DEITY 
KUAN-YIN, GODDESS OF MERCY, WHOM THE JAPANESE CALL 
KWANNON, AND THE INDIAN BUDDHISTS, AVOKOLITASVARA, 
WHO FREQUENTLY HOLDS A SMALL CHILD AND HAS BEEN 
CALLED THE BUDDHIST MADONNA. (Courtesy of Parish Watson ey Co.) 


son, Horus; while the Greeks, in the person of Diana, 
symbolised at once fertility and chastity, and made 
her the prototype of motherhood and beauty and 
charity. And undoubtedly the influence of these 
portrayals helped to create the “special” character 
of the Mother of Christ in art. In all likelihood it 
proceeded directly from the Isis and Horus legend, 
for St. Cyril, who fought so strenuously for the 
orthodoxy of the doctrine that the Virgin was the 
“Mother of God” at the Council of Ephesus mm 
431 A.D., was Patriarch of Alexandria from 412 to 
444, and in consequence was thoroughly familiar 
with Egyptian theology. It was this Cyril whose 
followers persecuted and put to death the bril- 
liant philosopher and mathematician, Hypatia, the 
heroine of Charles Kingley’s romance of that name. 

The “fight” just mentioned illustrates the 
seriousness with which what we might call the 
“working dogma”’ of the church was evolved. In 
the year 431 the Council of Ephesus condemned for 
heresy the party headed by Nestorius which main- 
tained that Christ was a dual personality, comprising 
both God and man, and that therefore Mary, His 
human mother, was the mother of the latter and had 
no right to be called the “‘Mother of God.” The 
Monophysites, who upheld the single character of 
Our Lord as the God-in-Man, contended that this 
unity automatically established the Madonna in the 
higher degree. The controversy engendered such 
active partisanship that the ‘Madonna and Child”’ 
became, as it were, a “campaign emblem,” and, after 
the victory, was popularised in painting or em- 
broidery on garments, or stamped on coins by all 
who wished to show their horror at the “sacrilegious” 
heresy. (See Chapter V.) 

At first, as in all arts—see previous papers—the 
artists who portrayed these religious subjects were 
themselves deeply imbued with the spirit they were 
commissioned to represent, and so even the crudest 
of these early efforts are impressive in their evident 
sincerity. This feeling of profound religious senti- 
ment lasted up to the beginning of the Cinquecento, 
and so we find the artists of the Quattrocento, the 
15th century, painting with considerable skill pic- 
tures which possess that rare combination of spon- 
taneous matter and impeccable manner. This period 
of perfection in art only lasts a very short time in 
any branch or country, for only too soon, alas, the 
artist who has acquired sufficient technical skill to 
express without difficulty whatever he wishes to say 
gathers unto himself an excess of pride in that skill, 
and a desire to see how far it will carry him, which 
fmishes by subordinating the matter entirely to the 
manner. Decadence has set in. In the matter of 
religious pictures this was displayed by a semi- 
sacrilegious portraiture, as the Madonna, of the 
wives, and even the mistresses, of some of the painters, 
and, in votive pictures, by the painting, mto the 
sacred group, of the donor of the picture and his 
relations, or even the artist and his family. 


There was nothing objectionable about the intro- 
duction into the composition of early pictures, of 
the donors, for they were brought in as worshippers 
only, and portrayed in almost minute proportions in 
order carefully to emphasize their comparative unim- 
portance. But I have in mind a tryptich by Ludger 
Tom Ring, a 16th-century German, in the Metro- 
politan Museum, in which he has depicted Our 
Lord in the centre panel, in the act of blessing, 
with the donor and his two sons on one side of Him, 


his wife and daughter on the other, and two other 


members of the family on the outer panels. All these 
figures are of the same size and value as Christ Him- 
self; indeed more importance is accorded to these 
impertinent and egotistical mdividuals than to 
the Master, by the statement of the age of each 
one of them painted over his or her head. These 
awful “parvenus”’ are not even kneeling to their 
Saviour. They are—probably with a condescending 
thought—having dinner with Him! The Meyer 
family of the Holbern Madonna, named after it, 
Is more reverent. The burgomeister shows at least 
some religious sentiment, and his wife is, as it 
were, behaving decently, as she would, kneeling, in 
church, as is also the younger daughter. But the 
other is paying no attention whatever to the beau- 
tiful crowned Madonna and Her Child, while the 


boy on the side of his father has come into the picture 


‘Gi 
NX 





a - 
[| he 
pans 


i, 


y 


| 
| 
H| 

















THE “MADONNA OF THE MEYER FAMILY” BY HANS HOLBEIN 
THE YOUNGER, IN THE DARMSTADT GALLERY 


so that “‘he will be in it” for family reasons. And 
Titian and Paul Veronese not only inserted the por- 
traits of themselves and their families into such 
works as the former’s “‘ Pilgrims of Emmaeus” in the 
Louvre, and the latter’s great “‘Marriage at Cana,” 
also in the Paris collection, but also introduced all 
manner of prominent contemporary personages and 
even personal friends. Finally, the painting of sacred 
pictures became a business, and, with the 17th cen- 
tury Italian eclectics of the schools of Bologna and 
Naples and elsewhere, what had once been a glorious 
art, pulsating with fervor, vibrant with emotion, vivid 
in both color and sentiment, the work of preachers 
in paint, just as the great architects of the Gothic 
era were preachers in stone, this splendid art which 
has cast a mantle of immortality upon the name of 
13th to 16th century Italy, died an ignoble death, 
choked by its greed, and its lifeblood of sincerity 
thinned down to the consistency of over-matured 
wines. 


CITA TUE Rei. 





OF THE DISTINCTION BETWEEN SYMBOLS AND ATTRI- 
BUTES, AND BETWEEN DEVOTIONAL, VOTIVE AND 
NARRATIVE PICTURES 


There are two classes of objects with which the 
Saints are always depicted in art, viz., attributes and 
symbols. Sometimes they are represented with one 
class, sometimes with the other, and frequently 
with both. The former have reference to their his- 
torical or legendary positions or careers. The latter 
symbolise some abstract quality, such as piety, 
learning, fortitude, eloquence, or are emblematic of 
their martyrdom. For example, St. Catherine of 
Alexandria, who was a royal princess, is sometimes 
portrayed with two crowns, one at her feet, the other 
on her head. In this case the crown at her feet 
Is an attribute of her royal rank, spurned by her in 
favor of the new Christian faith, while that on her 
head is the crown of martyrdom, a symbol. Simi- 
larly the Apostle Paul is shown in different pictures 
with a sword held, now pointing upwards, now with 
the pomt reversed and the Apostle Ieaning upon it. 
In the former case the sword blade, raised in 
the position of striking, is symbolic of the militant 
character of the Apostle’s preaching, while in the 
latter it is the attribute of his martyrdom, for he 
was beheaded with that, the customary, weapon. 
(See Plate XX.) 

Again, the habiliments in which a saint is depicted 
are almost always an attribute, for they refer to his 
or her station in life, though the colors of such robes, 
as in the case of the Dominican habit, may them- 
selves be emblematic. There are exceptions to this 
rule as, for example, when St. Dominick or St. Clara 
are portrayed all in white, in symbolic recognition of 
their outstanding purity of mind. On the other hand, 
the robes of the Virgin Mary are purely symbolical, 
the Red of Love, the White of Purity and the Blue 


14 


of Truth. When the Madonna is clad all in white, as 
in pictures of the Immaculate Conception, it sym- 
bolises Her purity, and again when She is clothed in 
rich vestments they are symbolic of Her mystic 
standing as the Queen of Heaven or of the Angels 
(Regina Ceeli or Angelorum). 

Pictures themselves also divide up into two 
categories, DEVOTIONAL or VoTIvE, and NARRA- 
TIVE, or, as they are sometimes called, Hisroricat. 
They are easily distinguishable from each other, 
once the basic points of difference are clearly under- 
stood. There is a third group, which is rarer, com- 
prising subjects which combine the features of the 





A DEVOTIONAL CRUCIFIXION BY MARTIN SCHONGAUER OF THE 


FIFTEENTH CENTURY GERMAN SCHOOL. THIS IS AN ADAPTED 
““STABAT MATER” (Q. Vv.) FOR, IN ADDITION TO THE USUAL 
FIGURES OF THE VIRGIN AND ST. JOHN THE EVANGELIST, THE 
OTHER THREE MARYS ARE ALSO PRESENT. (See Page 56.) 


two main divisions, the features of a narrative char- 
acter appearing in the subsidiary motives. 
Devotional pictures may be classifted broadly as 
those in which no action is depicted, where the per- 
sonages are represented solely in their saintly aspect, 
as opposed to their personal aspect. Pictures of the 
Last Judgment; the Coronation of the Virgin; of 
Paradise, with the Holy Trmity, the Virgin, the 
Heavenly Host, and the earthly samts, with their 
symbols and attributes; groups of saints, called by 
the Italians, “Sacre Conversazione;” and of the 
Crucifixion, where the single Cross is shown, bearing 
the figure of Our Lord, with a number of Saints hav- 
ing no connection with His actual life and His Pas- 
sion, are all of the category of devotional pictures. 


Narrative or Historical Pictures are those which 
tell a story, depict some incident, actual or Iegendary, 
in the lives of the Saviour or His Mother, or the 
Saints, thereby placing such personages on a terres- 
trial plane in contradistinction from the spiritual 
interpretation which marks Devotional Pictures. 

The commonest form of devotional picture presents 
the Madonna and “Bambino,” surrounded by saints, 
having no reference to each other, nor to the actual 
life of the Virgin, but bearing generally some connec- 
tion with the symbolic side of Her Life. Good 
examples of this type are the great Raphael Ma- 
donna, the Taddeo Gaddi Altar-piece, and the 
famous Girolamo dai Libri Madonna—under a tree 
—all in the Metropolitan Museum of Art of New 
York. 

Practically all the representations of the Ma- 
donna and Child—of which I shall speak more fully 
in a separate chapter—are in the devotional class, 
in fact all of them, except the usual type of work 
representing the Nativity, the Presentation in the 
Temple, the Circumcision, or the Adoration of the 
three shepherds and the three Magi or Kings, and 
other such historical events. Occasionally, the Ma- 
donna is represented alone, either simply as a half 
or bust-length figure, or at full Iength. These are, 
of course, all devotional representations. 

As mentioned previously, certain representations 
of the Crucifixion are devotional, while others are 
narrative. In the former, of which a good, though 
small, example is again to be found in the Metro- 
politan Museum, the work of Fra Angelico, 1! Beato, 
the Blessed, the Saviour is depicted upon the cross, 
but almost in an attitude of repose, the self-sacri- 
ficmg Son of God, rather than the suffering Man, 
while the other two crosses are replaced by palm 
trees equal distances away on either side of the 
Cross. Gathered around its foot are nine saints, 
three of whom are kneeling to the Divine Figure, 
while the others are separated into two groups of 
three on each side, but all in a row. (See Chapter XI.) 

When the Crucifixion is depicted with all the his- 
torical or legendary attributes, such as the Roman 
soldiers standing on guard, the two thieves on their 
crosses, the centurion Longinus, who is said to have 
pierced the side of Our Lord, and Iater became con- 
verted and canonised as a martyr, or again when the 
‘Heavens were darkened,” in short, whenever the 
picture tells a story, it is not a devotional, but a his- 
torical, work. The Bartolo di Fredi crucifixion in the 
Metropolitan Museum is an example of the narrative 
form. 

Portrayals of the Saints alone also divide into the 
two groups. Wherever the personage is shown actu- 
ally suffering martyrdom, or performing some one of 
the acts that Ied to his or her canonisation, or as 
accomplishing some event of his life, either historical 
or legendary, such pictures fall into the narrative 
group. The pictures of the Three Miracles of St. 
Zenobius, and the Last Sacrament of St. Jerome, by 


15 





A VERY INTERESTING, 
‘“ANNUNCIATION.” 


BUT UNCOMMON, RENDERING OF THE 
THE SUBJECT IS TREATED ENTIRELY IN A 
DEVOTIONAL MANNER, LIKE ANOTHER ONE BY THE SAME SATS 
MASTER, FRANCESCO RAIBOLINI, COMMONLY KNOWN AS IL 
FRANCIA.” (Picture in the Pinacoteca at Bologna) 
Botticelli, in the Metropolitan Museum, belong to 
this class. Such works as pictures of St. Sebastian, 
with soldiers actually shooting arrows into his flesh, 
are of course of the narrative type. But when this 
same saint is depicted alone, fastened to a tree or 
stake, with arrows driven into his limbs, it is a devo- 
tional picture. The picture of St. Dominick, with his 
book and lily symbols, in the Metropolitan Museum 
is of the devotional order. (See Chapter XI.) 

Pictures of the Annunciation might be classed 
as either devotional or narrative, for usually they 
depict the arrival of the Archangel Gabriel, with his 
lily-wand, to announce the news to the Virgin. There 
is therefore action in such pictures, but at the same 
time, the mystic atmosphere of the whole incident 
should really class them among the devotional works. 
There are some representations of this most impor- 
tant subject—from an Art standpoint—which are 
clearly devotional, e. g., the two well-known pic- 
tures by Francia, in the Bologna Museum, in which 
the Virgin is standing upon a slight elevation with a 
book in her hand, with saints around her and the 
angel floating above a little to one side, with the 
right hand raised mm a gesture of benediction. 

In one of these two (above), the Virgin Mary is 
surrounded by St. John the Evangelist, St. Francis 
of Assisi, St. Bernardino of Siena, and St. George, 
while above her head to the right floats a blessing 


angel, and immediately above is a symbolic figure, in 
a “mandorla”’ (olive shaped glory) of rays, of a nude 
Christ Child, holding a small cross. In a picture by 
Ambrogio Lorenzetti in the Siena Academy, the 
Virgin and the Announcing Archangel are in separate 
Gothic panels, with the Angel kneeling before Her, 
and pointing back upwards with his thumb (!) at 
the Dove of the Holy Ghost. In the great Fra Bar- 
tolommeo Annunciation in the Louvre, the Virgin Is 
seated on an elevated throne in a niche, with a small 
figure of a hovering angel above her to the left and 
the Dove emitting rays immediately above Her head. 
Around the steps of the “‘throne”’ are a number of 
saints. 

A purely devotional picture is the one by Lo- 
renzo Costa in Bologna, where he has portrayed the 
tall, comely Virgin, walking with an open book in her 
hand, under a colonnade while a Dove, alone, sheds 
rays towards her as she halts to the mystic summons. 
On the other hand, a curious narrative picture by 
Carlo Maratta in the Corsini Gallery in Rome, shows 
the head and bust of the lightly-veiled Virgin, read- 
ing an open book set on a table, while away to the 
right, one sees the arriving figure of the Archangel, 
at a distance. (See Page 38.) 

Votive pictures may be either devotional or nar- 
rative, though most of them are devotional in char- 
acter. Votive pictures are those which were offered 
by some individual or community or some monastic 
order, m thanksgiving to some holy personage for 
“services rendered,” e. g., recovery from sickness, 
or any other benefit attributed by the donor to the 
sacred personage who forms the subject of the pic- 
ture. Pictures of the Madonna, or of Our Lord, alone, 
are VoTIVE pictures, because they were painted with 
the Madonna as the Patroness, not as the Mother 
of Christ, or, in the case of the Saviour, as the 
general Patron of mankind. The vast majority of 
votive pictures represent the Madonna and Child 
surrounded by the Saints, who, as patrons, interceded 
with the Virgin Mary for the bestowal of the benefits 
in question. For example, in Florentine pictures, 
painted by order of the Medici, one sees very fre- 
quently S.S. Cosmo and Damian, who were the 
patrons of that famous house, while in those of the 
Lombardy school, we nearly always find St. Ambrose, 
in his character of Bishop and Patron of Milan. 

In many instances, instead of the Madonna and 
Child being the principal motive, with the patron 
saints on either side of the Holy Pair, we find the 
Saint himself enthroned, as for example, the famous 
Lorenzo Costa altar-piece in the Pinacoteca at Bo- 
logna, in which St. Petronius is seated upon a high 
throne, and holding a model of the city of Bologna 
in his hand, with the figures of St. Francis of Assisi 
on one side and St. Dominick on the other, in the 
attitude of presenting this comparatively minor saint 
to the congregation of the church erected in his honor 
by the city of which he was the Patron. This altar- 
piece is a typical VoTIvE picture. (See Page 26.) 


16 


Other famous examples of votive pictures are the 
St. Ursula and her maidens, by Moretto in Brescia, 
the St. Thomas Aquinas and the St. Ursula, by Car- 
paccio in the Stuttgart Gallery and the Venice 
Academy, respectively. In all these the honored 
saint is enthroned. In others, the Patron is standing, 
surrounded by other Saints, e. g., Raphael’s cele- 
brated St. Cecilia in the Bologna Pinacoteca, the St. 
Anthony of Egypt, by a pupil of Cima da Coneg- 
liano, in the Metropolitan Museum, the Saint Cecilia 


\ 


AZ 


Ss - \ 
SSSSQoowkdlf 
\ 


NOAA 


VLE 





ST. CECILIA, PATRON SAINT OF SACRED MUSIC, SURROUNDED BY 
SS. PAUL, JOHN THE EVANGELIST, PETER AND MARY MAGDALENE 


(From the picture by Raphael in the Vatican.) 


by Moretto in St. Clement’s at Brescia, and the St. 
Francis of Assisi between S.S. Ursula and Catherine 
of Alexandria by Lorenzo Costa in the Metropolitan 
Museum; the San Frediano standing amid four other 
saints, in the Bologna Gallery. The famous “Tri- 
umph of St. Thomas Aquinas” in the Louvre in 
Paris, in which the “Angelic Doctor” is seen with 
his attributes, the Sun on his breast and a book 
shedding rays, and with Plato and Aristotle on either 
side of him, shows the saint enthroned. 

Votive pictures very frequently comprise a por- 
trait of the donor of the painting. In the early 12th 
and 13th century works, the donors when present 
were always depicted as tiny dwarfs symbolizing their 
comparative unimportance in a picture of saintly per- 
sonages, as in a wonderful Agnolo Gaddi panel in the 
collection of Mr. Otto Kahn. It is called an allegory 
in the catalogue by Dr. Sirén, but is, I believe, a votive 


picture of the Madonna, without the Child, with the 
doctor-saints Cosmo and Damian standing together 
at Her left. At Her right—on the left of the picture 
—are two tiny figures, representing a nun and a 
novice of the Trinitarian Order—a derivative of the 
Augustinians—as the Greek cross on their white 
habit mdicates — kneeling with hands joined in 
prayer. The Trinitarians were essentially a chari- 
table order, for the redemption of captives. S.S. 
Cosmo and Damian were also famed for their charity, 
so their inclusion fits in, though St. Leonard is the 


wife, of the same size as the other figures, are kneel- 
ing outside the arched recess, one on either side. 

In Flemish pictures the donors were usually por- 
trayed in the wings, though frequently they appear 
in the main body of the picture, e. g., the great van 
der Paele Madonna by Jan van Eyck, in the Bruges 
City Museum, illustrated here, or the Madonna of 
the Chancellor Rolin by Van Eyck in the Louvre. 

In most of the Flemish votive pictures, the 
Patron Saints of the kneeling donors are depicted 
standing behind them, each with his or her attribute, 





THE WONDERFUL MADONNA OF THE CANON GEORGE VAN DER PAELE BY JAN VAN EYCK, IN THE MUNICIPAL MUSEUM AT BRUGES IN 
BELGIUM, IS AN EXCELLENT EXAMPLE OF THE REVERENT TREATMENT OF THE DONOR WHICH IS SO CHARACTERISTIC OF EARLY FLEMISH 
WORKS. THE LEARNED CANON IS PRESENTED TO THE MADONNA BY ST. GEORGE, HIS PATRON, WHO IS POLITELY RAISING HIS HELMET, 
WHILE OPPOSITE THIS PAIR STANDS ST. ERASMUS IN HIS ROBES AS BISHOP OF FORMIA, HOLDING IN HIS RIGHT HAND ONE OF THOSE 
CROZIERS WITH FIVE BLOOD-RED CARBUNCLES OR RUBIES MENTIONED ON PAGE I9 (d), AND IN THE OTHER A MINIATURE WINDLASS, 
THE ATTRIBUTE OF HIS HORRIBLE MARTYRDOM, BEARING FIVE CANDLES WITH THE SAME MYSTIC SIGNIFICANCE AS THE FIVE RUBIES 


true patron of prisoners. The circular nimbus and 
the crown and the rich robe clearly indicate the 
principal figure as the Madonna in Her capacity as 
Queen of Mercy, Our Lady of Pity. If the principal 
figure were allegorical, the nuns would not be kneel- 
ing. (See Page 80.) 

In a votive picture of the Trinity, by Masaccio 
in S. Maria Novella in Florence, represented as Our 
Lord upon a Cross surmounted by a bust-length 
figure of the Almighty, and the Dove, with a male 
and a female saint, one on either side of the cross, 
all under an arch, two figures of a noble and his 


17 


as in the Guillaume Moreel triptych by Memlinc, 
and the Gerard David ‘Baptism of Christ,”’ both mn 
Bruges. In both these great works, the donors are 
portrayed on the side panels. 

In Italian pictures of the Quattrocento, It was a 
common practice to introduce a bust-length portrait 
of the donor in a lower corner of the picture, in 
profile, as in the famous Pinturicchio Madonna, in 
the Ambrosiana Library in Milan, named after St. 
Ambrose, Bishop and Patron of that city. 

I have already spoken on page 13 of the self-satis- 
fied attitude of German donors. The contrast with 









PEAS ESI 














; 


i 





\\ 


\ \ 


ROSS. THE TOP \ i 
BAR IS SYMBOLIC OF TEMPOR- 
AL JURISDICTION; THE SECOND OF 
MILITANT ECCLESIASTICAL JURIS - 
DICTION: THE THIRD OF 
THE 
PATIENT 











OF THE KNIGHTS OF MALTA. THE 





THE EIGHT BEATITU DES. 








3 THE “TAU"CROSS, HELD 
BY STANTHONY OF EGYIT. 










\ 


WY 
\\W 
CHURCH. 


8. MALTESE CROSS, THE BADGE 
EIGHT POINTS PROBABLY SYMBOLISE 


TRADITIONAL FORM OF THE 


THE SAINTS IN ART 





VARIOUS FORMS OF THE CROSS 
AND CRUCIFIX WITH SOME 
INTERESTING APPLICATIONS 


13. A GERMAN STAINED-GLASS 
WINDOW (/37w Century) IN THE 
ih) COSTESSEY HALL COLLECTION 
IN NORFOLK, 
ENGLAND. 
(sa hw) 












ee 
A 






ie ‘| : { fo  —eeee 
\ : :, AN \ 5 


Tl A CURIOUS PICTURE 
BY FRA ANGBLICO, 

IN THE CONVENT OF 

SAN MARCO, FLORENCE, 
SHOWING OUR LORD AT 
THE TRANSFIGURATION 
WITH ARMS EXTENDED 
AS THOUGH 
ON THE CROSS. 






NOTE. THAT JESUS IS BEAR- | 
ING ON HIS SHOULDERS A “TAU 
CROSS (Fig. U INSTEAD OF THE 







412. THE TRUE’ 

GREEK CROSS 
WITH THE SLOP- 
ING FOOT-BOARD 


USUAL LATIN FORM. THIS IS. 
HOWEVER, AR QUITE COMMON 
GERMAN $ FLEMISH 


CROSS UPON WHICH ST. AN- 

PREW SUFFERED MARTYRDOM. 
THERE IS, HOWEVER, A SERIOUS 
DOUBT (See CHAP.IIL"CROSS “) 



































A: THE ARMS OF JERUSALEM 

















; | : 

ol i 

\ yy 
4 


OR KNOBBED CROSS, 
1S THAT OF THE RES- 
URRECTION. IT1S ALSO 
THE FORM BORN BYTHE 
LAMB OF GOD.*THE 
KNOBS ARE 
EMBLEMATIC, 
HERE, OF THE 
END OF SUF. 
FERING. 







es 

10. ST. NICHOLAB OF 
TOLENTINO BEARS 
ACRUCIFIX ENTWIN 
WITH LILIES ,( See C 
IL, “CRUCIFIX ©) 


6. EPISCOPAL OR BISHOP'S 
CROSS. ALSO CALLED A 
PATRIARCHAL CROSS. 


AND WE HAVE DISCOVERED 
SOME ANCIENT MISSALS IN 
WHICH THE APOSTLE 


14 REMARKABLE 


hap, 


TREATMENT. 
. (See eI) 












WHICH GAVE RISE 
TOTHE BELIEF 
INTHE EAST 


THAT CHRIST 
AT THE TIME OF CRUSADES. ISCARRIING A 
AGOLD'CROSS POTENT” 10. PLAIN LATIN HAD ONE LEG 
(See CHAPT IZ.“ ; : CROSS ON LONGER 

“CROSS HIS SHOULDER THAN THE 1 4. 
ANDO + CROSSLETS AS INDICATED HER. ; 

ON A SILVER BY THE DOTTED 

“FIELD: LINES, A Pes- 

5 SIBLE EXPLAN- 

By S.CROSSE ATION. “ade 

POMME’ ‘ 


FIETA, SOMETIMES {Lj muiah 
CALLED,WHENIN Wf JORrerSs 
THIS FORM, A"EUCH-F i 
ARISTIC £CCE HO/70"§ 
= AN OBVIOUS ERROR if i 
(JOHN XIX.5)== BY Don Bi 
LORENZO MONACO, 
THE BENEDICTINE 
MONK WHOSE IN- 
FLUENCE WAS SO 
GREAT UPON FRA & 
ANGELICO. THIS ff 
PANEL WHICH 
1S NOW IN THE 
UFFIZI GALLERY 
IN FLORENCE, 1S 
AN IMPQ RTANT 
EXAMPLE OFTHE 
EXTRAORDINARY 


aad atta fe 
=H ih! 


LENGTHS TO WHICH SYMBOLISM 
IN ART WAS CARRIED.IN EARLY. , 
RENAISSANCE DAYS. LORENZO'S 
DATES WERE ABOUT 1370 - 1425. 


[ror THE MEANING OF THE 30, opp, 
SYMBOLS, SEE. FOOT OF ADJACENT PAGE] 


ED 


18 


that of the humble, reverent, treatment of Italian 
and Flemish donors affords a curious example of 
character differences between peoples, for the evident 
pride, betrayed almost, one might say, at the expense 
of the Sacred Personage forming the principal sub- 
ject of the picture, even though it be Christ Himself 
or the Madonna, is almost universal in German works. 

From these examples the reader will, I hope, be 
able to judge from the general composition of a 
picture whether it is Votive or Narrative. 


CHAPTER III 





Or THE GENERAL SYMBOLS OR EMBLEMS USED IN 
SACRED ART* 


The symbols used im art, as distinct from the 
attributes allotted to all sacred personages, are the 
following, arranged alphabetically: 

The ANcHor, a very early emblem, symbolises 
steadfastness of purpose and undying hope. (Plate I.) 
It is also the special attribute of St. Clement. 

The Appie, emblem of the Fall of Man. In the 
hands of the Infant Christ it symbolises redemption 
for mankind. In the hand of the Virgin, it charac- 
terises her as the new Eve. 

The AuREOLE (see Nimbus). 

The Axe is an emblem of martyrdom, but is less 
often used in this connection than the Sword. It 
usually is an attribute, as in the case of St. Martina, 
the virgin martyr. 

The Banner is a symbol of victory, given to 
Warrior Saints, e. g., St. George. It is usually in the 
form of a pennon bearing a cross. (Plate V, Fig. 6.) 

The Book or GosPEL, generally is an attribute, 
but in the hands of such learned saints as Catherine 
of Alexandria, or St. Augustine, it-symbolises learn- 
ing. In the hands of St. Stephen the book is the Old 
Testament. The Apostles hold their own gospels; 
thus they are attributes rather than symbols. But the 
Book in the hands of other great preachers may be 
symbolic of their teaching of the scriptures, e. g., St. 
Thomas Aquinas. 

The CaNDELABRUM symbolises Christ and His 
Church and the Light it has brought to the souls 
of men. A seven-branched candlestick refers to the 
seven gifts of the Spirit or to the Seven Churches. 


*This chapter includes no attributes, which are innumer- 
able, a different one being peculiar to every saint. A list of 
attributes and emblems is given at the end of this volume. 


*“‘And the seven candlesticks that thou sawest are the 
seven churches.” (Revelation 1:20.) (Plate XIX.) 

The CHERUB is given to St. Matthew, because as 
the nearest approach among the celestial beings to a 
human being, it symbolises the fact that the Gospel 
according to St. Matthew emphasises the human, even 
more than the divine, character of Jesus Christ. 

A Cuurcu Is either a symbol or an attribute. In 
the hand of St. Jerome it symbolises his great love 
for the whole church of Christ, of which he was one 
of the 4 Latin Fathers. In the hands of Pope Felix 
or other saints it signifies that the church shown was 
built by the saint holding it. It is then an attribute 
(see Plate I, Fig. 12). Do not confuse with the 
model of the City of Bologna in the hand of St. 
Petronius. This is always recognisable by the high 
bell-tower or campanile. (Plate VI, Fig. 4.) 

The Cross symbolises the Saviour, when He 
Himself is not upon it. It also symbolises His Suffer- 
ing for Mankind. In addition it is given to a number 
of saints as an attribute, e. g., St. Helena, who is said 
to have discovered the True Cross (picture by Paul 
Veronese in the National Gallery m London); and 
St. John Gualberto, in a picture by Fra Angelico, 
because his enemy, the assassin of the saint’s brother, 
whom he had sworn to slay in vengeance, is said to 
have obtained mercy by extending his arms in the 
shape of a cross, which so impressed the saint that 
he spared his enemy and took the Benedictine habit, 
after he had seen, in the church to which he had 
taken his brother’s murderer, the head of Jesus on 
the great crucifix on the altar, bend forward as 
though mn approbation of the saint’s clemency. 
When the cross bears the figure of Our Lord it is 
called a Crucifix. (q. v.) There are a number of dif- 
ferent forms of the Cross. (See Plate III.) 

In a picture by Niccolo di Lorenzo in the posses- 
sion of Mr. Raymond Henniker-Heaton, ex-Director 
of the Worcester (Mass.) Museum, this saint is seen 
behind his supplicating enemy, while the whole 
crucifix is leaning forward. (Plate VI, Fig. 3.) 

The Cross altogether replaced the Fish (q. v.) as 
the sole emblem or symbol of Christianity in the roth 
century. When it was made of wood or stone, or 
embroidered upon a robe, it was left a plain Latin 
cross, but when it was made of gold or silver, the 
four ends, and the junction of the horizontal and 
vertical bars, were adorned with rubies or car- 
buncles, blood-red precious stones symbolic of the 
five wounds of Christ, and frequently shown shed- 
ding rays. When a saint holds a cross it is generally 


Plate III, Fig.14. Pietda by Lorenzo Monaco, the master of Fra Angelico. This type of Pietd with the body of Our Lord half- 
way out of the sepulchre is sometimes called a “Eucharistic Ecce Homo,” obviously an erroneous title (see John x1x, 5). This 
remarkable work contains all the accessories of the Passion, which reading from top to bottom and left to right are as follows: 
The sun and the moon, symbols of the Godhead; the pelican with its young (see Page 29) on the tree of life; the denial by Peter 
to the maidservant; the kiss of Judas. Then the cross with the pincers which drew out the nails, the scription J. N. R. I. and 
the crown of thorns and the hammer that drove in the nails. Below the cross, on the right of the upright, the three nails, the 
seamless garment on the ladder, the spear that pierced the side of Christ, the washing of bands by Pilate, the bandage that blindfolded 
Him, and the bead of St. Veronica in profile. On the left of the upright are the cutting off of the ear of Malchus, the passing 
of the thirty pieces of silver, the brasier around which He stood after the betrayal, the sponge on the hyssop, the reed, the 
column with the two scourges, and on the column, the cock that crowed when Peter denied our Lord. Below is Jesus, with the 
Virgin and St. John the Evangelist. The latter is always present in Pietd and Stabat Mater on the left of the Saviour. At the foot 


of the sepulchre are the chalice and three ointment boxes. 


PLATE IV. THE SAINTS IN ART 











: 
ible! foe ae cos 





& 


Upper left: Fifth-century Sarcophagus described in footnote on page 21. Upper right: Drawing by Mantegna 
showing St. Andrew, bearing a Latin cross, and St. Longinus, on either side of the resurrected Saviour. Middle left: St. 
Andrew, by Masaccio, also with a Latin cross (see footnote p. 21). Centre: The “Invention”’ (finding) of the True Cross 
by St. Helena, a picture by Tiepolo in the Venice Academy. Middle right: “‘Last Judgment,” by Jan Prevost, at Bruges, 
showing a symbolic Cross below the figure of Our Lord. Low right: The Archangels Michael (left) and Gabriel (right) 
flanking Raphael holding the youthful Tobias by the hand. (Picture of the School of Verrocchio in the Florence Academy. 
Note the fish in the hand of Tobias). (See p. 25 (c).) Low right: ‘Coronation of the Virgin” by Raffaelino dei Carli in 
the Louvre, described on pages 122 (c) and 41 (c). 


20 


of the Latin form, but a single cross on the end of a 
Bishop’s staff indicates a Greek Bishop, who wears 
no mitre or other head-covering, with the exception 
of St. Cyril of Alexandria, who wears a hood falling 
over his shoulders, with the front adorned by a cross. 
Other Bishops carry a staff with a scrolled top. A 
triple cross on a staff indicates that its bearer was a 
Pope. The Cross of St. Andrew is usually a trans- 
verse cross, shaped like an X; that of St. Anthony 
the Hermit is T-shaped (see Plate III). In very early 
pictures the Cross is sometimes found bearing a ser- 
pent, in which case it is an Old Testament symbol, 
with the brazen serpent, or interlaced with two 
Greek letters, the first two of the word Xoetotdc, or 
Christ. In this case it refers to the legendary miracle 
of the victory of Constantine over Maxentius in 311 
A.D. when the Emperor saw in the sky, at a critical 
moment of the combat, a cross inscribed “EN 
TOYTQ NIKA” or in its more famous Latin form: 
“In hoc signo vinces,” (By this sign sball thou con- 
quer). In the 6th Century, the Cross, from an 
Emblem or Symbol, became an Image, of a “‘narra- 
tive”’ character, by the placing upon it of the suffer- 
ing figure of Our Lord. 

The Latin Cross, the western symbol of the 

Christian religion, is supposed to be the form of that 
upon which Our Lord gave His life for our redemp- 
tion. It is also symbolic, in its conventionalised 
form, of a man standing with arms extended, in the 
ancient attitude of prayer. The Greek Cross, the 
invention of minds more tinged with oriental sym- 
‘bolism than those of the material Romans, is an 
idealised form, and its four equal-lengthened arms 
reflect the benign influence of the religion of the 
Nazarene over the ‘‘four quarters of the world.” 
Sometimes the Latin cross is represented on the 
summit of three steps—we often see this form on 
gravestones—which represented originally the three 
graces of Faith, Hope, and Charity. The Cross 
Potent (see Plate III), which was the blazon of the 
Crusaders’ Kingdom of Jerusalem, is interesting to 
us on that account, and also because of the frequent 
misreading of the word ‘“‘potent”’ as powerful, an 
easily-understood error m this connection. But 
“potent” in this sense simply meant a crutch, in old 
English, and was so called from the form of its 
arms. Chaucer in his “‘EIde” (Old Age) says: 


“So old she was that she ne’er went 
On foot but it were by potent.” 

Although the traditional cross, upon which Our 
Lord suffered, is a Latin cross (see Plate III), and 
this tradition is adhered to in the majority of pic- 
tures of the Passion, there are numerous examples 
of the use of the ‘‘T” or Tau cross being employed, 
particularly, I think, by masters of the German and 
Flemish Schools (see Plate III, fig. 13). Among 
such are the Roger van der Weyden Pietd, and the 
Gerard David devotional Crucifixion (see Chapter 
II), both in the Berlin Museum; the Geertgen tot 
Sint Jans Pieta—with Christ extended on the ground 


2I 


with only His head on His Mother’s knee—in the 
Albertina of Vienna; the devotional ‘‘Christ Cru- 
cified”’ by the ‘‘ Master of the Virgo inter Virgines”’ 
in the Uffizi; the Stabat Mater by the “‘ Master of the 
Death of Mary,” formerly in the Weber Collection 
at Hamburg; and another Stabat Mater by the Ger- 
man “‘ Master of the Life of Mary” in the Wallraf- 
Richartz Museum in Cologne. And in the celebrated 
triptych of the Last Judgment by Van Orley in the 
Antwerp Museum the Cross held by angels at the 
base of the celestial group is a Tau cross, again. I 
can recall no instance of anything but a Latin cross 
in Italian pictures, though it 1s impossible to say 
that there are none. 

The Cross of St. Andrew is almost always shown 
as X-shaped, or as it is styled in heraldry, in Saltire 
form. But there appears to have been no authentic 
foundation for the establishment of this tradition. 
On the contrary, the Abbé Méry, in his “‘Théologie 
des Peintres” (Theology as Interpreted by the 
Artists), states distinctly: “It suffices to look at the 
veritable Cross of St. Andrew, preserved in the 
Church of St. Victor at Marseilles, in order to prove 
the fallacy of the old tradition. It will be observed 
that it is a right-angled cross.” In view of this clear 
statement, with information as to the place where 
ocular evidence can be obtained, it is difficult to 
understand Mrs. Jameson’s sceptical remark: “‘His 
reasons are not absolutely conclusive.” To us they 
appear entirely so, and therefore it seems to be worth 
while seeking the origin of the traditional X-shaped 
cross, usually, but not universally, given to St. An- 
drew. *Now in some very old documents of early 
Christian art, St. Andrew is shown bearing his cross 
on his shoulder at approximately the angle of that 
in Fig. 9 of Plate III. It will be noticed that in this 
position a portion of the cross (shaded) takes the 
X-form, and it is more than likely that in those early 
days either a portion of the real Latin cross (as indi- 
cated by the dotted lines) may have been oblit- 
erated, leaving only the X, or through the corruption 
of original idea and word which is almost universal 
in art—see De Bles’ Old English Furniture Styles 
and How to Distinguish Them—the form of the 





*We have reproduced on Plate IV in the upper left-hand 
corner a $th-century sarcophagus, now in the Church of St. 
Apollinare-in-Classe, at Ravenna, which has on the arched 
lid three Greek crosses, overlaid with transverse crosses, each 
therefore having eight arms. On the side shown in our illus- 
tration will be seen, carved in alto-relievo, the seated figure of 
Christ, with three of His apostles on each side, hurrying 
towards Him. One of these figures is that of St. Andrew, who 
bears on his shoulder a Latin cross in the position shown.on 
Plate III, Fig. 9. Again, in Michelangelo’s wonderful “Last 
Judgment” in the Sistine Chapel, St. Andrew is given a Latin 
cross. Masaccio, whose sacred allusions are always correct 
in detail as were those of all the early men, also gives the plain 
Latin cross to St. Andrew in a votive picture now in a private 
collection in Vienna, and a splendid drawing by Mantegna, 
recently sold in New York, depicting Christ between SS. 
Andrew and Longinus, the centurion who pierced the side of - 
Our Lord and was converted subsequently, offers still one 
more example of the belief among the more reflective masters 
that the cross of St. Andrew was of the same form as that upon 
which Our Lord, and St. Peter, and other crucified saints 
suffered and died. (See Plate IV.) 


cross on the shoulder of St. Andrew deteriorated into 
a saltire. The documents I refer to antedate the his- 
torical pictures of the Passion, with the scene of 
Christ bearing His Cross to Golgotha, so the position 
of the cross was not then as familiar as it became 
later. 

The Crown, again, may be either a Symbol or 
an attribute. When it is placed upon the head of a 
Saint who bears other symbols of martyrdom, such as 
the Palm (q. v.), it is generally an attribute of the 
royal rank of its wearer. This rule is not absolute, 
however, and in a votive picture of St. Catherine of 
Alexandria of the school of Raphael, now in the 
Louvre, a crown-circlet, with spikes, symbolising the 
crown of thorns, is worn by this samt, who also 
carries the Palm and has, besides, her attribute, the 
spiked wheel. Sometimes, as stated in Chapter II, 
two crowns are given to a Saint, in which case, one, 
generally lying spurned at his or her feet, is the attri- 
bute, while that on the head is the symbol. St. Louis 
of Toulouse, who renounced the throne of France, 
in order to give all his thought to religious matters, 
is depicted in Bishop’s robes, with a mitre, and a 
crown at his feet, or wearing a royal blue velvet robe 
strewn with golden fleur-de-lys, over his monastic 
habit, with a mitre and crozier, and a French royal 
crown lying on the ground at his feet. He is thus 
depicted in a picture in the Louvre collection by 





ST. ELISABETH OF HUNGARY, ONE OF THE PATRON SAINTS OF 

THE DONORS OF THE CELEBRATED ‘“‘BAPTISM OF CHRIST” TRIP- 

TYCH, BY GERARD DAVID, IN BRUGES, IS DEPICTED WITH BOTH 
CROWNS 


Raffaelino dei Carli, of the Coronation of the Virgin 
at the hands of the Almighty—Our Saviour is no- 
where portrayed, a most unusual representation of 
this subject—while three of the great Franciscan 
Saints and St. Jerome are seen below, viz.: SS. 
Jerome and Francis on one side, and St. Bonaventura, 
the Seraphic Doctor, and St. Louis of Toulouse on the 
other. Gerard David, similarly, gives two richly 
jeweled crowns to St. Elisabeth of Hungary in the 
famous Triptych of the Baptism of Christ in the 
Bruges Museum. One is on her head placed on her 
white veil, while she is contemplating the other, held 
in her hands. This royal saint is, to the best of my 
knowledge, always depicted wearing a royal crown. 
Saints Barbara and Ursula are also very frequently 
portrayed with a crown on their heads, as is invari- 
ably Saint Louis, the nmth king of that name who 
ruled over France (1226-1270). 

CRowNS OF FLoweErs or FOLIAGE will be spoken 
of under “‘FLOWERs.” 

The Crown or Tuorns Is, of course, one of the 
chief attributes of Jesus Christ, as an instrument of 
one phase of the Passion, in which case its significance 
is explained by the context. But it is also given as 
an attribute, held in her hands, to St. Catherine of 
Siena, who beheld a vision of the Saviour offering 
her the choice of a golden crown or a crown of 
thorns. St. Catherine, who is always shown clad in 
a white Dominican robe, with the Stigmata on her 
hands, feet and breast, like St. Francis of Assisi, 
spurned the crown of gold and placed the thorns 
upon her head. St. Louis of France is also depicted 
with a Crown of Thorns in his hand, because, when 
in Jerusalem during the Third Crusade, he is sup- 
posed to have discovered the true Crown, worn by 
our Saviour. He brought it back to Paris and built 
the exquisite “Sainte Chapelle” to receive it. The 
Crown of Thorns in votive pictures for monastic 
orders 1s a symbol of martyrdom or renunciation of - 
the pleasures of this world for the sake of Jesus 
Christ. As Patroness of the city of Pisa, the Virgin 
Mary holds in her hands a Crown of Thorns. 

The CruciFix is again both a symbol and an 
attribute, according to the manner of Its appearance 
in a picture. It differs from the Cross in that it 
bears upon it the figure of Jesus Christ. It is gen- 
erally an emblem, or symbol, of faith and penance, 
but it is most frequently met with in the hands of 
Saints who were famous as preachers of the Christian 
faith. Missionaries like St. Francis Xavier, who 
proselytised Portuguese India and Japan im the 16th 
century; St. Vincent Ferraris, who preached the 
Gospel throughout all Europe; and St. Nicholas of 
Tolentino, all carry a crucifix, the last-named bearing 
one entwined with lilies. St. John Gualberto, men- 
tioned previously, is sometimes seen with a crucifix 
as an attribute referring to the legend of his brother’s 
slayer (see Cross). In a picture by Lorenzo Costa 
in Bologna, St. Dominick is portrayed with a lily 
and a long thin wand terminating Im a crucifix. St. 


Francis of Assisi and St. Clara bear a crucifix m 
pictures by Macrino d’Alba and Benvenuto Tisi, 
respectively. Mrs. Jameson states that when St. 
Francis and St. Dominick are shown together in a 
picture, the crucifix is given to the former and the 
lily to the latter, but that this is not always so is 
proved by the above-mentioned Bologna picture, for 
St. Francis, easily recognizable by the stigmata and 
his habit, standing opposite St. Dominick, only 
carries a plain reed Cross, while the Dominican car- 
ries both Crucifix and Lily. 

The first step to be taken in the evolution of 
the Cross to the Crucifix as a Christian emblem was 
the addition of the head of Our Lord, either at the 
head or the foot of the vertical post, while the 
symbolic Lamb was placed at the “crossing.” Then 
Jesus was placed upon it, but not nailed, and fully 
clothed. Then He was represented nailed, but alive 
with His eyes open. In the toth century, He 
began to be depicted as dead, or at any rate with 
closed eyes. Originally, in keeping with the inscrip- 
tion I.N.R.I. (see page 34), the figure of Christ was 
crowned and fully clothed. Later the royal crown 
was replaced by a crown of thorns, and a lom cloth 
alone draped about His person. In all early repre- 
sentations, the two feet were nailed together so that 
only three nails were employed, but in Jater times it 
became the rule of the Church to separate the feet, 
and use four nails. 

The Dove is symbolic of several qualities, as well 
as an occasional attribute. It is first and foremost 
the symbol of the Holy Ghost and as such appears 
in almost all pictures of the Annunciation, and in 
general pictures of large groups of Sacred personages. 
such as those of Paradise, or the Last Judgment, or 
the Coronation of the Virgin, or the Baptism of 
Jesus Christ, in short in any pictures where the 
personages of the Holy Trinity are depicted. It is 
also a symbol of purity, and as such is given to the 
Blessed Virgin and certain female Saints, e. g., St. 
Scholastica, the sister of St. Benedict, and St. Eu- 
lalia, the martyr. Often again it is used as an em- 
blem of Divine imspiration as in the case of St. 
_ Gregory, near whose ear is hovering a dove (picture 
of the Madonna and Child between SS. Gregory 
and Anthony by Pinturicchio in the Louvre), and St. 
Thomas Aquinas and others. 

The Dracon symbolizes temptation, evil, sin, 
paganism, and its vanquishing by various saints was 
a favorite subject of all painters in early days. The 
great Raphael picture in the Louvre of St. Michael 
conquering the Dragon is but one example of hun- 
dreds. St. George is almost always seen either fight- 
ing the Beast, or with it at or beneath his feet, dead. 
In many cases it represents opposition to the Chris- 
tian faith and so is overcome by St. George and St. 
Sylvester. As Sin it is that SS. Michael and Mar- 
garet of Antioch are Its victors, while in some cases 
the Dragon is an attribute referring to the slaying by 
some saint, e. g., St. Martha of Bethany, sister of St. 


23 


Mary Magdalene, of some partially legendary, par- 
tially actual, monster, exaggerated by popular fear. 
It is shown chained at the feet of St. Martha, 
who is said to have saved the people of the Rhone 
valley from the monster—probably a disastrous 
flood so symbolized. When a Dragon is shown in a 
monastic picture it symbolizes not ordinary sin, but 
heresy. 





IN THIS OLD DRAWING, BY AN UNIDENTIFIED SIXTEENTH-CEN- 
TURY ITALIAN MASTER, THE ALMIGHTY PRESENTS THE VIRGIN, 
AS THE SECOND EVE, TO DESTROY THE SERPENT, HERE DEPICTED 
AS A DRAGON, WHICH BROUGHT ABOUT THE FALL. THE LATIN 
INSCRIPTION MEANS “‘SHALL CRUSH THY HEAD” (GEN. III:15). 


The EacLte when accompanying St. John the 
Evangelist is an emblem of the spiritual character of 
his Gospel, but when the King of Birds accompanies 
St. Prisca it refers to the legend that an eagle held 
watch over her body until it was buried after her 
martyrdom. When a figure bearing an eagle’s head, 
or a four-winged eagle, or a male saint with an eagle, 
is depicted, it always represents St. John, not in the 
character of a simple Apostle, but as the Evangelist. 

Frre and Fiames symbolise religious fervor, or 
are attributes of martyrdom. St. Anthony of Egypt 
is sometimes shown with flames under his feet, or 
with a burning edifice, for he is the patron saint 
against fire in this world and the hereafter. St. 
Florian is also shown casting water upon a burning 
house, the Iegend being that he miraculously extin- 
guished one with a single pitcher of water. 

The Fis is one of the earliest symbols in Chris- 
tian art, the reason for its adoption having been 
already explamed on Page 11, column I. 

It also symbolises water and the ceremony of 
baptism. Like the nimbus (q. v.) the fish emblem is 
a relic of paganism, where, as a dolphin, it was one 
of the numerous members of the animal kingdom 
connected with the worship of Apollo. The name 


THE APPLICATION OF SOME OFTHE 
PRINCIPAL SYMBOLS AND ATTRIBUTES. 


Fig. 6. The anachronisms of the German 
painters in dealing with costumed saints 
are very amusing; particularly such works 
as the St. George in the costume of a 
Lanzknecht of Holbein’s own time. 


4+ Courtesy 
ALS.NATIONAL 
ANUSEUM. 












MARIETTO Di NARDO 
Courlehy +! he 
ZARICH GALLERIES) Jee 


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SrSMLVESTER owe rere BAUR AG eg 
AANA LEMS Ar eo ttl NIMBUS, GLORY AND'MANDORLA 
THE GREAT. (3/£-335 AD) bea kelow. AC Ne LR SEN ete 





_ ST.GEORGE WITH HIS 
BANNER AND 


DEAD DRAGON. #4 
loflecthy ( Z| 5 


OLBEIN GA 
UNICH 








2.CH RIST IN A TRANSOMED ‘MANDORLA 
UPHELD a pane (2rem aw ole 


St. HUBERT, IN BISHOP'S 
ROBES, HOLDING A 
STAG (HART) WITH 
A GRUCIFIX BET - 
WEEN ITS ANT- 


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wh 4s ERINA 
St. CHRISTOFER, WITH THE CHILD ei ad 2 SAC ma hale 





CHRIST ON HIS 6 HOULDERS HOLDING dT ebb i tay seis Et: (From & 
CAT RS eckp Aa) J ull aldo! Giovanni della Chiesa at measlor pes: 
Coutkiy of EXRKH GALLERIES) Ooo Colegne, a Ws 





Fig. 1. The animal in the hand of St. Sylvester looks more like a fish than a dragon, but the artist has given it ears 
to emphasize the distinction. The cords round its mouth refer to the legend of his having, after the baptism of Constan- 
tine the Great, confounded the pagan priests by exorcising a dragon and binding its mouth with three cords. The sym- 
bolism lies in the deliverance of the people from idolatry. Fig. 3. This representation of St. Christopher bearing the 
Infant Jesus over the river illustrates the naive ideas of the early masters. The Infant Christ was supposed to be unknown 
to his carrier, yet. He bears in His hand the symbol of earthly power, surmounted by a Cross. Fig. 4. Amida is one of 
the five meditation Buddhas, who rule over the Heaven of the West. Note the use of the Mandorla, and Nimbus and 
Glory, the latter framing the Heart of the Buddha. Fig. 5. See page 25 for the meaning of the figures beneath the feet 
of St. Catherine of Alexandria, and also of the fruits near her head. Fig. 7. St. Hubert is generally portrayed in hunting- 
dress, before he became converted by the sight of the Hart bearing a crucifix between its antlers standing before him in 
the forest. He later became Bishop of Liege (see page 25, under “Hart”’). 





24 


itself is derived from the Greek “‘Delphis” from 
the city of Delphi where the Apollonic Oracle was 
situated. The ancient Greeks also considered it a 
symbol of Spring. A dragon was.called ‘‘Delphyne,”’ 
which close connection is an explanation of the semi- 
dragon, semi-fish, “‘grotesques”’ called Dolphins, in 
Renaissance art, derived from the classic. One of the 
causes for the early adoption of the Fish symbol is 
believed to have been the phrase in the Gospel 
according to St. Matthew, when Our Lord, calling 
the fishermen Peter and Andrew, said unto them: 
“Follow me, and I will make you fishers of men”’ 
(St. Matthew tv:109). 

St. Peter is often depicted with a fish in his hand, 
in which case it has a triple significance, viz.: as an 
attribute of the Apostle’s former calling; as a symbol 
of his vocation as an Apostle in the sense just men- 
tioned; and in the oldest sense, of his conversion to 
Christianity. 

Many bishops, renowned for their success in 
converting unbelievers to the Christian faith, are 
pictured with a fish. Among the most important 
are St. Zeno, patron of Verona; St. Ulrich, patron 
of Augsburg; and St. Benno, Bishop of Meissen, with 
whom the fish is an attribute, relating to the legend 
of his locking the doors of his Cathedral against the 
excommunicated Emperor Henry IV, and throwing 
the key into the river Elbe, before proceeding to 
Rome. Upon his return, he ordered a net to be cast, 
which when drawn in was found to hold a fish with 
the key m its mouth. St. Benno’s attribute is there- 
fore always shown with the key, but as it Is always 
in its mouth, there can be no confusion with St. 
Peter, who, moreover, bears two or three keys. 

In pictures of ‘Tobias and the Archangel Ra- 
phael,” e. g., the famous panel of the school of Ver- 
rocchio showing the Archangels Michael, in armor, 
Gabriel, with the lily, flanking Raphael, leading the 
young Tobias by the hand, the son of Tobit always 
carries a fish, in reference to the incident of his 
journey to Media in quest of moneys due to his 
father, related in the Apocrypha, Book of Tobit, 
Chapter vi:2 et seq. (Plate IV.) 

FLowers and Fruit in the hands of the Saints 
have various significances. For such emblems in the 
hands of the Madonna and Child, see Chapter V. 

Any fruit in the hands of St. Catherine, always 
recognisable by other attributes, represent the “‘fruits 
of the spirit: joy, peace and love.” 

In pictures of the Paduan and Mantuan schools, 
particularly, flowers, and even more so fruit, are 
strewn all over the composition, when, though they 
may have a symbolic significance, their purpose Is 
mainly decorative and should be so considered. For 
more detailed explanations see under individual 
names of flowers and fruits. (See Plate XV (7).) 

The GospeL. See Book. 

A Guose beneath the feet of the Madonna sym- 
bolises Her triumph over the world of Sm. Often the 
Globe is entwined with a serpent, ever the emblem 


25 


of sin and deceit. In the hands of the Intant Christ, 
It represents His sovereignty, and was used very 
early in Christian Art. An orb, a large globe-like 
ball with a cross, is also an emblem of the fourth 
choir of angels, the ‘‘Dominations,”’ in the classifica- 
tion of Dionysius the Areopagite. (See Chapter VI.) 

A G1tory is an oval or circular halo surrounding 
the entire figure of a member of the Divine Trinity 
or the Mother of Our Lord. See Nimsus. 

GRAPES, In clusters, combine with Ears of Wheat 
to symbolise the Blood and Flesh of Jesus Christ, 
the Wine and Bread of the Holy Eucharist. 

The Hart is both a symbol and an attribute. As 
the former it is the emblem of religious aspirations, 
“As the hart panteth after the water-brooks, so 
panteth my soul after Thee, O God.” (Psalms 
XLu: 1.) It is also given to hermit saints, though 
chiefly as an attribute, as in the cases of St. Giles of 
Edinburgh, SS. Eustace and Hubert, and St. Pro- 
copius, King of Bohemia, who relinquished his crown 
to become a hermit. St. Giles and St. Procopius are 
both shown with a hart or hind by their side, but 
that of St. Giles is always recognisable by the arrow 
in its flank. SS. Eustace and Hubert are both por- 
trayed with a stag bearing a crucifix between its 
horns standing a short distance away. But here 
again it is easy to distinguish between them because 
St. Eustace is always portrayed in armor, while St. 
Hubert is depicted either in hunting costume, as 
by Diirer, or in episcopal robes as bishop of Liége 
(Plate V). St. Julian Hospitator is also shown in 
courtier’s dress, with a stag or hind, but it bears 
no crucifix, nor can this Saint be mistaken for either 
St. Giles or St. Procopius, on account of his rich dress. 

A Heap under the feet of St. Catherine of Alex- 
andria is that of the Emperor Maximian, who ruled 
the Roman Empire jointly with Diocletian, one of 
the worst of the persecutors of Christians. It sym- 
bolises the triumph of the new faith over paganism 
and cruelty. In a picture by Giovanni della Chiesa 
at Lodi, St. Catherine is represented bearing in 
her hand the palm of martyrdom, and holding an 
immense sword, point downwards, while beneath her 
feet are two bust-length figures, one the emperor, in 
armor, holding a small spiked wheel, and the other 
evidently intended to represent the spirit of wicked- 
ness and cruelty. A head with other saints is usually 
an attribute, referring to their martyrdom by decapi- 
tation, e. g., St. Denis, patron saint of France. See 
Plate V. and p. 27. St. Grata carries the head of 
St. Oswald. 

A Heart, Flaming, “is symbolic of fervent piety 
and spiritual love.”” (Mrs. Clement.) As the emblem 
of fervent piety, It is given to St. Augustine, but 
following St. Ignatius Loyola, founder of the Order 
of Jesuits, who is depicted with a Heart crowned 
with thorns, a number of minor saints were accorded 
this emblem, thereby expressing their renunciation 
of the world. 

Hinp. See Hart. 

















Aig SIN yh * as 
ZERO 
<p Ze 


IW 3. 
xa! Hl v | SKETCH of THe 
Ba ¢) (I sth WAY ESSENTIAL 
DETAIL of tne 
PICTURE ay 
LORENZO o1 
| NICCOLO, (1370 
-1440), REPRES 
= ENTING StJoun 
| GUALBERTO 
AND HIS 
ENEMY ar tHe 
ALTAR or SAN 
MINIATO In 
FLORENCE. 
(See [AGgeTY) 














=< 
SS 














1. THE DEVIL’ FigHTING AN ANGEL FOR THE 
SOUL OF A DEAN MAN 
AND POINTING TO 
A ROLL OF MISDEEDS. 
THE SOUL’ 1S SYMBOL- 
ISED BY A NAKED 
INFANT IN A 
OVAL 
GLORY 


(Seo Sage 27) pes 













FROM A PICTURE 
IN THE COLLEC- 
TION OF MR 
RAYMOND HEA 
NIKER-HEATO 
DIRS OF THE 
WORCESTER 
(/fass) ART Mu- 
SEUM 





= 
— 


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> 













Od. ST. PETRONIUS, 

PATRON OF BOLOGNA 

4. NHOLOS IN HIS j 
HANDS A 

HODEL OF 

THAT CITY 











ABLE ALWAYS : 
BY ITS HIGH HK \e3 : 
CAMPANILE [A | , 
y ff iy 4 

| 

i Nia WW | 






2. ST. AGNES, WITH THE CROWN 
AND PALM OF MARTYRDOM, 
1S SHOWN, IN THIS IST* CENTY 
GERMAN WORK, WITH HER SPECIAL 
ATTRIBUTE, ALAMB, SEATED ON — f SS 
P 2 ¥ a, yf i 
AGOSPEL (rey oy Ana ele f ity 


4) 
(eely) OR BELL- y 
ToweR (i 

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7 Ny AY \\\\\ i. Wn 
(dare gT 2). fh I Y) 4 /* a \! \ Wan NY NNN 
Gh lag Ny ei NWN 
4- sr. DOMINICK’S SPECIAL H! fifi; ins Ve } yy NG BN Ni, \ 
SYMBOLS ARE ALQLY AND A WM — eS // sy Sis 


STAR, WHICH HOWEVER, IS 
ABSENT 1N THIS PICTURE, AND 


USUALLY IN THE HABIT OF HIS ORDER, Pips 

THOUGH SOMETIMES HE 15 DEPICTED, From THE FAMOUS PicTURE S 

SYMBOLICALLY, ALLIN WHITE By GIOVANNI BELLINI IN 
(Se? 27) THE NATIONAL GALLERY. LONOON . 


Fig. 1. The representation of the newly escaped soul of a human being as a small naked child is almost universal 
in early art, but except in the case of Our Lord or His mother it is rarely enclosed in a mandorla. In this case this “glory”’ 
symbolizes the victory of the angel of good over the spirit of evil for the man’s soul. Fig. 2. In German and Flemish 
pictures and in ancient Byzantine mosaics, St. Agnes is generally depicted with the Crown of Martyrdom. Fig. 3. A 
scene similar to the above as far as the inclining forward of the crucifix on the altar is concerned represents the so-called 
“Mass of St. Gregory,” who, however, is always recognizable by his papal robes. Fig. 4. St. Dominick is frequently 
represented with a star in his nimbus (Plate VII) or on his shoulder and a crucifix. His robes are white with a black 
cloak. Fig. 5. This representation of St. Petronius, enthroned, by Lorenzo Costa, is flanked by SS. Francis of Assisi and 
St. Dominick, who died in Bologna in 1221. Berenson calls the Dominican saint in this picture St. Thomas Aquinas, 
but he bears none of the particular emblems of that saint, the sun on his breast or the book shedding rays. 


26 











THE USUAL REPRESENTATION OF ST. 
DENIS, WHO IS OFTEN DEPICTED CARRY- 
ING HIS HEAD UNDER HIS ARM. NOTE 
HOW THE NIMBUS IS NOT ROUND THE 
HEAD BUT ROUND WHERE IT SHOULD BE, 


(From an old 


English church 
painting.) 


CASS 
’ 2s 









f if Ve | 
| | Bot 


Sse 
m 





we. 
oer te 
7 mere: 


"wae PTL 





‘ar 
Cd 










LIZZ, 
OP e221 52; 
hf? 


ST. DENIS BEARING 
UPON A GOSPEL A. 
symbolic HEAD, INDI- 
CATING THAT HE SAC- 
RIFICED HIS OWN 
HEAD FOR THE 
CHURCH OF CHRIST 


n=. 


(From a drawing by 
Hans Baldung Griin) 


< a's 
S *-@: =u 
(as 
age 






Fe 
Fs. 
tc 


An INFANT, naked, hovering over a dead body, 
symbolizes the newly-escaped soul. In a very early 
ancona by Bartolo di Fredi in Siena, depicting scenes 
from the life of the Virgin, one of the panels repre- 
sents Her Death, where the Saviour in a glory of 
seraphs holds n His arms the Soul of His Mother 
as a little child, but fully clothed, in the manner of 
the period. (See Plates VI (1) and XI (2) ) 

The Lams is the symbol of the Saviour Himself 
adopted in the earliest times, from St. John the 
Baptist’s words, “Behold the Lamb of God which 
taketh away the sins of the world” (John 1:29). 
On Plate XIX an old drawing represents Christ 
Himself, the Lamb of God, with a nimbus around 
His head, standing upon an elevation from which 
run the four rivers which rise in Paradise, a symbol 
of the four Evangelists. St. John the Baptist 


ee 5S 
r 





27 


is very frequently accompanied by a white lamb 
holding a banner inscribed ‘‘Ecce Agnus Dei” (Be- 
hold the Lamb of God). The Apocalytic Lamb, seen 
in pictures of Paradise and the Last Judgment, is 
portrayed as described in Revelation v:6. ‘‘Lo, in 
the midst of the throne and of the four beasts (the 
Evangelists) and in the midst of the elders, stood a 
Lamb, having seven horns and seven eyes, which are 
the seven spirits of God sent forth into all the earth.” 

The lamb also symbolises meekness, and inno- 
cence, and purity, and as such is always seen with 
St. Agnes, whose name is a “pun” on the Latin 
word for “‘Iamb” (agnus). (Plate VI.) 

A Lamp is symbolic of piety and good example: 
“Let your light so shine before men,’ and also of 
wisdom and inspiration. In the former sense, it is 
given to St. Bridget of Ireland, before whose tomb 
at Kildare, a lamp was kept burning for many cen- 
turies. St. Gudula and St. Genevieve are also de- 
picted with a Iantern or taper as an attribute, refer- 
ring to the miraculous relighting, by the power of 
prayer, of their Janterns extinguished by the evil 
spirit, a mystic significance, it is hardly necessary to 
state. St. Lucia, who tore out her own eyes so: that 
they might not tempt a pagan youth who complained 
that their beauty obsessed him, is often depicted 
with a lamp symbolising the light of the spirit, 
though she dwelt in self-inflicted darkness. 

The Lity is another emblem of purity and chas- 
tity. As such the Archangel Gabriel, the Angel 
of the Annunciation, always holds it, and frequently 
also does the Madonna with Her Child. ‘I am 
the Rose of Sharon and the Lily of the Valley.” 
(Song of Solomon, 1:1.) Joseph, the husband of 
the Virgin Mary, is also depicted with lilies, his 
rod, according to the legend, having put them forth. 
A lily is also given to St. Dominick, St. Francis of 
Assisi, St. Catherine of Siena, and other Saints re- 
nowned for their surpassing purity. As stated before, 
the crucifix of St. Nicholas of Tolentino is shown 
entwined with lilies. St. Euphemia, the Greek Virgin 
martyr, holds a lily while a Lion crouches at her feet 
or is biting her hand, as m a picture by Mantegna. 
The lily, as one of the emblems of the Madonna, 
patroness of Florence, was adopted by that city for 
its device in the form of the “‘ Fleur de Lys.” 

A lily intermingled with thorns refers to the 
second verse of Chapter II of the Canticles: “As the 
lily among thorns, so is my love among the daugh- 
ters.” 

The Lion is the symbol of fortitude and also of 
solitude in the desert. In the latter significance it is 
given to St. Jerome, though its character in this case 
is more of an attribute than a symbol. The Saviour 
is on rare occasions represented as the “Lion of 
Judah,” wearing a cruciferous nimbus. The King of 
Beasts is also used as the symbol of the Resurrection 
in respect of the oriental legend that the lion-cub is 
born dead and is licked by its sire for three days, 
when it comes to life. It also symbolises the life work 


of certain saints such as St. Magnus and St. Germain 
of Auxerre, who by their preaching and example 
turned lawless Jands into law-abiding, Christian, 
countries. The Lion as the symbol of St. Mark the 
Evangelist is the King of Beasts and so symbolises 
the royal dignity of the “King of Men,” which is the 
keynote of the Gospel according to St. Mark. 

A Manpor ta is an almond-shaped “glory,” that 
is to say, an oval pointed at both ends, sometimes 
composed of simple lines or a halo of light, at others, 
of seraphs. It is used about the figures of the Divine 
Trinity in, or ascending to, Heaven. (See Nimsus 
and Plates V and XI.) 

NAKED INFANTS. See INFANT, NAKED. 

The Nimsus, that circular halo or ring which 
surrounds the head of all divine personages and 
saints, is the outstanding symbol par excellence by 
which such holy figures can be distinguished from 
donors, or other ordinary human beings, so fre- 
quently introduced into their pictures by painters 
of the Cinquecento and later. Like the Palm (gq. v.) 
the Nimbus was a pagan emblem of great antiquity, 
a luminous nebula derived from the divine essence, 
and so came to symbolise power. It is even men- 
tioned as far back as Homer (940-850 B. C.) in the 
Iliad (Book xvi, Ines 255 et seq., not Book xx1n, 
Ime 205, as stated by Mrs. Jameson) referring to the 
hero, Achilles: 


The great goddess (Pallas) caused 
A golden cloud to gather round his bead 
And kindled in the cloud a dazzling flame. 


(William Cullen Bryant’s translation.) 


I have also found a nimbus of tiny beads on 
ancient coins, e. g., a coin of Athena with the Phidian 
helmet (c. 4th century B. C.), while on another of 
Rhodes, bearing the head of the Colossus—one of 
the seven wonders of the ancient world—which 
represented the Sun God, there is a nimbus of ten 
rays. It is also used in India encircling the heads of 
three kings: Kanishka, Havishka and Vasudeya 
(48 B. C. to 41 A. D.), and on Roman monuments, 
traceable back to Egypt, e. g., the head of the 
Emperor Trajan on the Arch of Constantine. 

It is, however, more than likely that the Chris- 
tian use of the nimbus was evolved from the Hvareno, 
an aureole of fire, which surrounded the head of the 
Persian monarchs, and indicated that they had found 
favor in the sight of Ormazd, the Persian god of the 
sky. The belief of the populace in this respect gave 
rise to the doctrine that the Sun was the bestower 
of the Hvareno. Now Mithras, one of the chief 
Persian gods of light, was worshipped as the agent 
of the destruction of evil and the administrator of 
the world, and thus, in the moral realm, he became 
the god of truth and loyalty. But what is more 
important still, he was the god of victory. Therefore 
the cult of Mithras acquired an immense importance 
in Rome, where it was imported during the first 
century B. C., through the Cilician pirates taken by 


28 


Pompey. For about 200 years it lay dormant, but 
towards the close of the 2nd century A. D., Mith- 
raism had gained great favor, and Rome indeed 
became its headquarters. 

Mithraism was thereafter the religion of all the 
emperors, until Constantine took sides against it in 
favor of Christianity. But Julian the Apostate 
(361-363 A. D.) and the usurper Eugenius restored 
Mithraism to favor, though only for a short time, 
and under the emperor Theodosius (c. 395 A. D.), 
who for slaughtering 7,000 inhabitants of Thessa- 
Ionica, was forbidden by St. Ambrose, Bishop of 
Milan, to enter the Cathedral, until he had done 
penance publicly as ordered, Mithraism died out for 
ever. (Seé Page 81.) 

It is easy to see how this cult—the most 
dangerous antagonist with which the young Chris- 
tianity had to contend and which was the propelling 
force behind all the most atrocious massacres of the 
Christians, from those under Nero (54-68 A. D.) 
until the last and most appalling ordered by Dio- 
cletian (284-304 A. D.), when the Christians sought 
refuge in, and decorated with disguised Christian 
pictures, the Roman Catacombs (see Plate 1)—came 
to be used as a “blind” by those same Christians 
who, as mentioned previously, hid Jesus Christ and 
their worship of Him under the form of Orpheus. 
And so it came about that to this Persian idolatrous 
cult we owe the nimbus, Christianity’s most dis- 
tinctive emblem, after the Cross. 

As a Christian symbol the Nimbus came into use 
in the sth century and its development from that 
time till its virtual disappearance in the 16th century 
is of great interest to lovers of early Italian paintings 
and those of the northern Catholic countries. At 
first It was represented as a circular gold plate, more 
or Iess ornamented with interior circles, rays and 
stars in relief, behind the head of the saint to whom 
it belonged. When that saint was looking out of the 
picture towards the spectator or even was shown in 
profile, the effect was passable, but when, as in 
several of Fra Angelico’s pictures, particularly in his 
“Coronation of the Virgin,” saints and angels look 
up at the Divine group with their back to the spec- 
tators, the effect of them staring straight into a solid 
gold disc is, to say the least, curious. Such discs are 
universal in all pictures up to the end of the 14th 
century. Masolino (1403-1440) still used the disc. 
but made a move towards showing it in perspective, 
though the change was hardly perceptible. But his 
great disciple, Masaccio, provided his personages 
with a flat gold plate m perspective hovering as it 
were over the head, not framing it as hitherto. Then 
the material itself became lighter, and, with Fra 
Lippo Lippi, we find it a gold ring with a delicately- 
embroidered Iace pattern in gold or with wavy 
rays from the centre to the rim stretched over it. 
This form developed into the simple circular fillet of 
gold of the Cmquecento, and finally the nimbus dis- 
appeared altogether. Some painters, such as Cor- 


reggio, simply indicated a nimbus by a halo of light 
around the head of the saintly personage, thereby 
returning to the Homeric origin of the emblem, while 
others, notably of Leonardo’s Milanese school, gave 
their subjects haloes of rays projecting beyond the 
contour of the head. Velasquez in the 17th century, 
in his very rare religious subjects, faintly indicated a 
few sparse rays of light. 

In most of the earlier figures of Christ, either 
as a “Bambino” (child) or as a man, He bore 
a cruciferous (cross-bearing) nimbus, that is, either 
with a cross painted, generally in red, on the gold 
plate-nimbus, or forming part of the dainty pattern 
of the later “Iace’’ nimbus. When even the fillet 
was disappearing rapidly, the Christ head was 
often adorned, particularly by such men as Bernar- 
dino Luini and others of Leonardo’s Milanese school, 
with a cruciform nimbus, composed of a cross of 
bunched rays of which the upper three branches 
alone are seen. In the rare examples of a depicted 
saint, living at the time of his being incorporated 
into a picture, his nimbus is square. St. Francis of 
Assisi (1182-1226) is sometimes portrayed thus. A 
hexagonal nimbus indicates not a saint but an alle- 
gorical personage, e. g., Charity or Fortitude or 
Faith. (See Plate I.) 

A nimbus is often called an aureole, but that is 
erroneous, for the latter properly means a Iarge cir- 
cular light surrounding the entire figure. It is only 
bestowed upon personages of the Godhead and the 
Virgin Mary, though the latter application is rare 
unless She is accompanied by the Saviour as in a 
Coronation, or, when alone, in an “Assumption” or 
an “Immaculate Conception.” This aureole ts fre- 
quently termed a “Glory.” An almond-shaped 
Glory, 1. e., an oval pointed at both ends, is called in 
Italy a Mandorla, and is again used only for the 
members of Godhead and the Virgin as above. (See 
Plate V.) . 

Ors. See GLOBE. 

The OtrveE is symbolic of peace, hope, and abun- 
dance, and as such is often employed in pictures of 
the Madonna and Child. The Archangel Gabriel in 
Annunciations is frequently crowned with an olive 
wreath. (See page 52.) 

The Ox is the symbol of sacrifice, and is always 
given to St. Luke, whose gospel stresses the Priest- 
hood of Christ. It is always seen with the Ass, in 
pictures of the Nativity, with a bearing upon the 
prophecies of Habakkuk 11:4. ‘He shall lie down with 
the Ox and the Ass.”” These two beasts were never 
absent in pictures of the Nativity from the 6th to the 
16th century. They have always been considered 
as symbolic, the Ox of the Jews, the Ass of the Gen- 
tiles. 

The Pa.m, like the Crown, is the universal sym- 
bol of martyrdom, and like the ntmbus comes down 
from classical times, far antedating the Christian era, 
when it was an emblem of triumph and victory. Its 
symbolism in the Church is therefore easy to under- 


29 


stand: victory over suffering, triumph over pagan 
cruelty. The early Christians found their justifica- 
tion for the adoption of so distinctive a pagan em- 
blem in Revelation vii:9, “A great multitude... 
stood before the throne, and before the Lamb, 
clothed with white robes and palms in their hands.” 

The Peacock is still another pagan emblem, of 
which the application to the Christian religion is 
more remote than either the palm or the nimbus. It 
was the bird of Juno, the divine wife of Jupiter, and 
In pagan literature signified the apotheosis of an 
Empress. Thus it came to mean in Christian art the 
immortalization after death of the mortal soul. It is 
an early symbol and died out of general use in the 
sth century. It is interesting to note that the pea- 
cock is even today the emblem of the Empress of 
China—tthe title still exists though the Emperor has 
no longer any empire to rule. It is only in quite 
recent times that this handsome bird has come to 
signify earthly pride. 

A Pear symbolises, like the Apple and the Pome- 
granate, the fruits of the spirit: love, joy, and peace. 

The Petican is the emblem of self-sacrifice in 
suffering, from the ancient belief that the female bird 
tears open her breast to feed her young upon her own 
blood. It is thus used to symbolise the redemption 
of mankind through the sacrifice of Jesus Christ. It 
is often found with the Lamb, the latter lying at the 
foot of the Cross symbolising the Redeemer without 
blemish, and the Pelican at the top. The Pelican is 
thus shown at the summit of the curious symbolic 
tree-like cross of the Giotto altarpiece in the Refec- 
tory of Santa Croce m Florence, and in a still more 
extraordinary Pieta with a symbolic cross in the 
background, surrounded by all the attributes of the 
Passion, by Lorenzo Monaco, in the Uffizi Gallery. 
This remarkable work is reproduced on Plate III. 

The PoMEGRANATE (see PEAR) burst open with 
Its seeds exposed is emblematic of the Hope of Im- 
mortality, of an Eternal Future. It often figures in 
pictures of the Madonna and Child, the fruit being 
then in the hands of the Child, who is frequently 
depicted giving it to His Mother. 

The SERPENT is the emblem of Sin. It Is often 
placed beneath the feet of the Virgin Mary, with 
obvious meaning. In an old enamel by Godefroid de 
Claire in the Brussels Museum the serpent on the 
top of a column is the Brazen Serpent, with Moses 
on one side, holdmg the Tables of the Law, and 
Aaron, with his rod, on the other. (Plate VII.) The 
Serpent, issuing from a chalice in representations of 
St. John the Evangelist, is rather an attribute than 
a symbol, for it refers to legends of futile attempts 
to poison him. 

The SHELL is the symbol of pilgrimage. 

The Sku. symbolises penance, and is generally 
present in pictures of hermit saints. It is almost 
always given to the penitent Magdalene. 

The Suir is symbolic of the church. In earliest 
days it used to represent the ark floating on the 


water, an obvious symbol of the security of the Chris- 
tian faith, but later any ship came to have this 
meaning. 

The Square used to be symbolic of earth in very 
early works, while the circle represented Heaven. 

The Sworn is both a symbol and an attribute. 
In its former meaning, it is given to many saints who 
did not die by the sword. But as a rule it is as the 
attribute of martyrdom that it appears. Warrior 
saints, of course, bear a sword as part of their equip- 
ment. 

STAG.) oce LIART. 

The Star, given to St. Dominick and St. Nich- 
olas of Tolentino, is an emblem of the divine attesta- 
tion of particular sanctity. It is seen sometimes on 
the head, sometimes on the shoulder or breast. A 
Sun with rays, on St. Thomas Aquinas’ breast, must 
not be mistaken for a Star. 


SS 


4 WOnaS: "fee 
35 mo4) Qe Een ree HEA 
See GY ae : 











ST. JUSTINA OF ANTIOCH WITH HER SYMBOLIC UNICORN, WITH 
ALPHONSO D’ ESTE, THE THIRD HUSBAND OF LUCREZIA BORGIA 
(Picture by Moretto da Brescia, in the Belvedere in Vienna.) 

The TRIANGLE was symbolic of the Holy Trinity 
in those very early days of the Faith when it was 
necessary to conceal as far as possible the worship 
of Christ and abandonment of that of the pagan 
deities. It is also used as a nimbus for the Almighty 
(see Plate VII). 

The TETRAMORPH (see Plate VII) was a symbol of 
the four evangelists, bearing the heads of the ‘‘four 
beasts” of the Apocalypse, surrounding by wings 
covered with eyes, and with the feet of the cherub 
or angel of St. Matthew resting upon two winged 
wheels. 


30 


The Unicorn is the symbol of female chastity, 
and so is given to the Virgin, though only very 
rarely, and to St. Justina of Antioch, e.g., the picture 
of St. Justina and Alphonso of Este-Ferrara, in 
the Vienna Belvedere. A curious allegorical picture 
of the school of Botticelli in the Turin Gallery pre- 
sents a chariot, bearing a throne with a female figure 
upon it, and a bound figure of Love in front of her, 
the chariot being drawn by two unicorns, led by a 
maiden holding aloft a banner bearing the Lamb, 
emblem of purity. The picture is named “The Tri- 
umph of Chastity.”’ Another of the same subject, 
and forming one of a pair, the Triumph of Chastity, 
and the Triumph of Love, by Jacopo del Sellaio, are 
in the Church of S. Ansano at Fiesole. 

The Ear of WHeEaT or Corn is symbolic of the 
Bread of the Eucharist, and so is frequently seen in 
the hand of the Child-Christ m pictures of the 
Madonna and Child. 


THE SYMBOLISM OF COLORS 


WuiteE symbolises Purity, Innocence, Clabes 
Faith, Light, Felicity and Integrity. It is worn by 
Jesus Christ after the Resurrection, and by His 
Mother in the Immaculate Conception and the 
“Assumption.” The Dominicans wear a white frock 
covered with a black cloak, in reference to a legend 
that these hues were dictated by the Blessed Virgin 
herself in a vision of a monk of Orleans.. The white, 
representing the purity of life of the Dominican 
brethren, was to be covered with the black of mor- 
tification and penance. The Diamond is the pee 
stone symbolic of the “‘white idea.” 

Rep is emblematic of loyalty and, also of 
course, of royalty; fire, divine love, the creative 
power, heat (generative power) and the Holy Spirit. 
Red and white roses are worn as a wreath by St. 
Cecilia, symbolic here of love and wisdom. St. 
Elizabeth of Hungary has the same combination of 
colored roses, for several of the above reasons. In 
an adverse sense, red denotes blood, war, and’ 
hatred. (‘‘Seeing red.”) Rep AaNp BLack are the 
colors of Satan, Purgatory, and evil spirits. The 
Ruby is the precious stone. 

BuiuE of the Sappbire is symbolic of Hee 
divine love, truth, constancy and fidelity. 

Rep AND BLUE are the vestment colors of the 
Madonna, the tunic being red and the mantle over 
it blue. In Fra Angelico’s pictures, these colors are 
in the most delicate of what, today, we call pastel 
shades. But there are numerous exceptions to this 
law. (See end of Chapter V.) 

GREEN, the color of Spring, denotes Hope and 
Victory (see Chapter V). The Emerald is technically 
the corresponding stone, but im general practice the 
green has more of an olive tone. 

YELLOw or Gold represents the Sun’s glory, the 
bounty of Almighty God, marriage and fertility. 
St. Joseph and St. Peter are usually depicted in 


TeAhE V IT THE SAINTS IN ART 














AE hay ih 7. THE ALMIGHTY WITH A TRIANG - 
KE . ss ULAR NIMBUS, SURROUNDED 6Y 
‘a Ny — >: THE FOUR EVANGELISTS WitH | 
AI Ca ey : S THEIR, EMBLEMS. (ec Aelow) 


2. Sr AGNES, STRIPPED OF HER 
GARMENTS, IN THE COURSE OF 
HER MARTYRDOM, IS COVERED 
BY HER HAIR GROWING LONG 
MIRACULOUSLY. Clee Behow) 


JO. THE TETRAMORPH, OR Four 
SYM BOLISED EVANGELISTS 
UNITEDIN THE FORM OF A 


4 THe Star of Bette. 
HEM, WHICH BECAME 
A GREAT DECORATIVE 
FEATQRE IN (7TH 
EARLY (Stu CENTURY 
ENGLISH FURNITURE, 


9. Moses (dfs) An D 
AARON ANDTHE 
BRAZEN SERPENT: 












CTURE IN 
THE LOUVRE, OF ST. FRANCIS 
OF ASSIS! RECEIVING THE 

STIGMATA ON MOUNT ALVERNA 
FROM OUR LORD AS A SERAPH 














BY GIOV.DA 
Rican, IN 
THE COLLECTION 
Wl) G0 DEFRO/D DE OF FRANK &L. 
mW CLAIR{/274 BABBOTG Eso. 


CENTURY]. J THE ALMIGHTY, WITHA NY] oc D HI 
TRIANGULAR NIMBUS Jsee Beton Secs oar 







Fig. 1. The Almighty is represented symbolically either by a triangle or a circle, or in human form, in which case 
He is frequently given, as here, a triangular nimbus. In this illustration, furthermore, we have an example of the inter. 
pretation of Christ as the Lamb of God. Note also the inclusion of the Kings Saul, David and Solomon. Fig. 2. St- 
Agnes is rarely seen elsewhere than in Spanish pictures except in a devotional aspect, accompanied by her lamb. This 
is curious, for the Inquisition in Spain, founded by St. Dominick, was strongly opposed to the presentation of the nude 
female form, at least until the second half of the 17th century. Fig. 3. Shows the mystic interpretation of the four 
preneela, with the wheels of the Cherubim and their eyed wings. (See page 50.) Figs. 4-9 are sufficiently explained 
above. 


3I 


yellow garments. A musty yellow also symbolises 
infidelity, corruption, and treachery, and as such is 
worn by Judas. 

VIOLET of the Amethyst symbolises suffering and 
penitence. Mary Magdalene usually is depicted in 
violet garments (see Chapter VII). The Virgin wears 
this color as the Mater Dolorosa, and sometimes Jesus 
Christ, but not after the Resurrection, as Mrs. 
Clement says—for white is the color then—but imme- 
diately after the Passion, when about to “descend 
into Hell.” 

Grey denotes penance and humility. It has 
other significances, such as wrongful accusation or 
mourning, but they are rarely portrayed thus in 
important works. 

Back is explained above (see White). It also 
symbolises Death, Mourning, Wickedness. The 
Saviour and St. Anthony the Hermit are both de- 
picted in black in some pictures of their temptation. 


CHAPTERAIY: 


DEVOTIONAL PORTRAYALS OF, AND SYMBOLS FOR, 
THE MEMBERS OF THE Hoty TRINITY.* 


I. Gop THE FATHER. Up to the end of the 11th 
century, God was never presented in human form. 
A hand or pair of hands, sometimes with the Dove 
of the Holy Ghost, alone betrayed the presence of 
the Almighty. And although He was depicted in 
other forms after the beginning of the 12th century, 
we still find numbers of pictures with the Hands and 
the Dove. One of the most famous of all is the Ver- 
rocchio Baptism of Christ, with the two angels 
ascribed to Leonardo da Vinci, in the Florence 
Academy. 

Then God the Father was represented in Italian 
pictures as a head or a bust m a cloud or a circular 
glory, e. g., an exquisite Nativity attributed to 
Benvenuto di Giovanni belonging to Mr. Dan Fel- 
lows Platt, in which the Almighty, wearing an enor- 
mous hat of the shape of those given to cardinals, is 
shown bending over from the top centre of the panel. 
In an early Coronation of the Virgin by Giovanni 
d’Alemagna and Antonio Vivarini of the Murano 
(Venetian) School (c. 1443), the Almighty is por- 
trayed as Raphael and Michelangelo always repre- 
sented Him, in the aspect of a patriarch, with benign, 
yet powerful, countenance, and with Jong white hair 
and a beard. It is thus, though with a stern expres- 
sion, that Michelangelo has depicted God the 
Father in his famous “‘Creation of Light” fresco in 
the Sistine Chapel. Since the end of the Cinquecento, 
it began to appear sacriligious to portray the AI- 
mighty in the form of man, though the original idea 
from Genesis seemed sound enough to the earlier 
painters, more naifs and sincere than the later ana- 


*A Chronological Table of the principal events in lives of 
Jesus Christ and His Mother, as they are depicted in Art, is 
given in Chapter XII of this volume. 


32 


lytical eclectics, and so He was symbolised again, 
this time as a triangle or a patch of light. Often the 
triangle bore the Hebrew name of the Almighty, and 
the whole was enclosed in a circle, emblematic of 
Eternity, being a form which has neither beginning 
nor end. This symbol ts now only seen on the pal- 
lium of a bishop or in church decorations over the 
altar. 

Gop THE Son. The early symbolisations of Our 
Lord have already been noted on previous pages 
(pp. II, 14, 19, 21, 23, 27) and frequently depicted 
in our illustrations to which frequent reference 
should be made. 

As we explained on page 27, the Lamb has, from 
the remotest times, been used as a symbol of the 
Saviour. It is so mtroduced into fig. 1 of Plate VII, 
and the page of an ancient missal reproduced on 
page 58. The Labarum (Celtic: lavar, to command), 
composed of a cross entwined with the first two 
letters of Our Lord’s name in Greek Capitals, viz.: 
X and R, also symbolised Jesus Christ, whose 
religion was adopted on behalf of the Roman people, 
by Constantine the Great in 312 A.D. in gratitude 
for the Divine intercession to which he attributed 
his victory over Maxentius at the Milvian Ridge 
the year previously. This victory, and consequently 
the institution of the Christian religion as the official 
faith of the formerly pagan Romans, was also com- 
memorated by the splendid Arch of Constantine, 
near the Colosseum, so well-known to all visitors to 
Rome. 

The IHS on church vestments and elsewhere, 
which is so puzzling to many people, represents the 
JES of Our Lord’s first name, in Greek, in which 
Ianguage the letter E is written as an H, while of 
course the J in early days was always represented as 
an I. It is a very prevalent mistake to believe that 
IHS means Jesus Hominum Salvator (Jesus the 
Saviour of Men), but we find conclusive proof of the 
Greek meaning in a gold com of the time of Basil the 
Macedonian, Emperor of Byzantium (See page 34), 
bearing on its obverse side a nimbused half figure of 
Christ, and on the reverse a Greek inscription mean- 
ing Jesus Christ, King of Kings, a curious mix- 
ture of capitals and small letters, and of the 
Greek and Latin forms of the letters). The I.N.R.I. 
inscription above the Crucifix is not a Greek but a 
Latin inscription, being the mitial letters of Jesus 
Nazarenus, Rex Judicorum (Jesus of Nazareth, King 
of the Jews). 

Tue Hoty Guost. Except for a few years in the 
10th century, and then only rarely in pictures, when 
the Holy Ghost was represented as a human figure, 
of all ages, and performing the acts in which it 
takes part according to the Scriptural tradition, the 
third member of the Trinity has always been repre- 
sented as a dove, generally shedding rays. As the 
Holy Ghost, the dove is usually in the centre of the 
picture with wings outspread. When as an ordinary 
bird it hovers over the head of a saint, or near his 


Pee NALLL THE SAINTS IN ART 


Ole te hes 
OLYe TRINITY 








og wa ahitioo ghana Nic 
omavasshign non 


Top left: —The Members of the Trinity each wearing a cruciform nimbus and bearing His own attribute: the Almighty 
with a papal tiara and orb; Christ with His Cross; and the Holy Ghost with a Dove which also has a cruciform nimbus. 
Middle left: God the Father with the Orb of Power, by Masaccio. Lower left: the Holy Trinity according to the Meister 
von Messkirch (see p. 34). Note the angels bearing the accessories of the Passion; the Sun and Moon, in the corners, 
St. Michael with his scales, and other saints with their attributes. Also the Bubenhoven family, the donors, kneeling 
below. Upper right: Fra Bartolommeo’s “Enthronement of the Virgin”’ in the Uffizi. Note the triple head of the Trinity 
at the top, the open book and St. Anne behind her daughter. Middle right: The Almighty creating Light. ‘‘Fiat Lux,” 
by Michelangelo, in the Sistine Chapel. Low right: the symbolic triangle of the Trinity, with the triple head again, and 
the symbols of the evangelists. (Title-page of William Lynwodd’s Constitutiones, or Canon Law (1506), one of the 
earliest books printed at the Sign of the Trinity in St. Paul’s Churchyard, London.) 





ie 


ear, as in the case of St. Gregory, it symbolises, not 
the Holy Ghost as a component member of the 
Trinity, but that the Saints in question were inspired 
by Heaven. Sometimes the Holy Ghost is repre- 
sented as Seven Doves, each bearing a cruciferous 
Nimbus, and emblematic of the Seven gifts with 
which Our Lord was endowed. ‘‘And the Spirit of 
the Lord shall rest upon him, the spirit of wisdom 
and understanding, the spirit of counsel and might, 
the spirit of knowledge, and of the fear of the Lord 

. and with righteousness shall He judge the 
DOOR ¢-4usu (lsaian "xXI72,° 3354). 

Tue Hory Trinity. In addition to the varied 
symbolism by means of which the “Individuals” of 
the Holy Trinity are interpreted in art, the Triune 
entity is itself depicted in many different manners, 
some of which are purely emblematic, while the 


0 020005 
x 





THREE BYZANTINE GOLD COINS OF THE QTH AND IOTH CEN- 
TURIES, DISPLAYING THE FIGURE, NAME AND TITLES OF THE 
SAVIOUR. THE UPPER LEFT-HAND COIN, BEARING AN INSCRIP- 
TION “I HC X PS REX REGNANTIUM,” DATES FROM ABOUT 867 
A.D. THE COIN NEXT TO IT SPELLS JESUS, “IHS,” AND IS OF 
THE TIME OF CONSTANTIUS II, circa QI2 A.D. THE THIRD, OF 
WHICH BOTH SIDES ARE ILLUSTRATED HERE, SHOWS ON THE 
REVERSE THE ORIGIN OF THE “IH S”” ON CHURCH VESTMENTS 
AND ELSEWHERE. ITS DATE IS ABOUT 969 A.D. WE HAVE 
UNDERLINED THE LETTERS “I H S”’ IN ORDER TO MAKE IT STILL 
CLEARER. (See page 32.) 

others are wholly or partially naturalistic. (See 
Plates VII and VIII.) It is not difficult to under- 
stand why the triangle was one of the commonest 
and most obvious symbols, and we find threes of 
several forms expressive of the same idea. The 
Triangle is sometimes enclosed in a circle, the symbol 
of eternity—the circle beng an endless form—at 
others, three intertwined circles were used, were 
indeed a common emblem, from the 13th to the 16th 
centuries, concurrently, of course, with the repre- 
sentations in human aspect. 

Three fishes, placed head to tail, m the form of 
a triangle, was still another method of expressing 
the Trinity, but is only to be found in very early 
art, and in later times, the most frequently used 
method, im pictorial and plastic art, was frankly 


34 


anthropomorphous, as far as the two principal 
Figures went, with the Holy Ghost as a Dove 
emitting rays. 

A form found chiefly in Germany and Flanders, 
in the 14th and 15th centuries—I can recall no 
example in Italian art—is that employed by the 
Meister von Messkirch in the picture known as the 
Bubenhoven Trinity, reproduced on Plate VIII, and 
by Albrecht Durer in his celebrated Trinity at the 
Imperial Gallery in Vienna. In these pictures the 
Father, in the guise of a long-bearded patriarch, 
holds in his hands below him, a Cross bearing the 
body of His Son, while the Dove of the Holy Ghost 
hovers either over the head of the Almighty or 
between the two figures. 

Other representations of the Holy Trinity will be 
found throughout this volume in illustrations of the 
Coronation of the Virgin, the Baptism of Christ, the 
Annunciation, and so forth. 


CHAPTER:Y, 


Or THE BLESSED VIRGIN, AND THE DIFFERENT As- 
pEcTS UNDER WHICH SHE IS PORTRAYED IN ART, 
WITH THE SYMBOLS AND ATTRIBUTES PARTICULAR 
To Her. 


I have already spoken, on page 13, of the Nes- 
torian Controversy about the question of the Virgin 
Mary’s right to the title of the Mother of God. The 
battle waged furiously for three years, between the 
Nestorians and Cyril of Alexandria, and the final 
victory of the latter and his supporters, approved by 
the Popes Celestin II and Gregory the Great, gave 
a start to the truly religious significance of the 
Madonna and Child group and made it the most 
important of all the subjects treated in Sacred Art. 
This recognition of the holy character of the group 
began only in the 6th century, for before that the 
Mother and Child only appeared as part of the bib- 
lical story of the Adoration of the Kings. And 
although the sanctity of the Virgm Mary was first 
recognized by the Greek Church, the destruction of 
all religious works of art by Leo the Isaurian was 
the cause of the first representations now extant 
being the work of artists of the Western Empire, 
particularly the mosaic workers of Ravenna and 
Capua, many of whom were, however, of Greek 
origin. 

In the earliest works we find the Madonna hold- 
ing the Child before her, without any expression of 
maternal feeling, as though She held Him in awe, 
and usually She is represented half-Iength only. But 
as time went on, a more intimate feeling was ex- 
pressed, reaching its apex in those exquisite pictures 
of the Mother suckling Her Child, e. g. the beautiful 
Madonna of the Green Cushion by Andrea Solario 
in the Louvre, and those in which the Child Christ 
appears less in His divine character than as a playful 
happy baby upon whom His Mother gazes with 
maternal rapture. In these pictures the Madonna Is 


the ‘Mater Amabilis,” the Loving Mother, and as 
such is the subject of by far the most lovely of all 
the Madonna pictures. 

But our subject covers so wide a range that we 
shall be obliged, owing to the limited space at our 
command, and also in keeping with our desire to 
make this paper first and foremost a work of prac- 
tical utility to the visitor to picture galleries, to 
tabulate to a certain degree the principal aspects of 
the Madonna in Art, and the symbols peculiar to Her. 


I. THe Maponna WITHOUT THE CHILD. 


When She is depicted, standing alone, or accom- 
panied by Saints, facing straight to the front, gener- 
ally with arms extended in the ancient attitude of 
prayer, She is the Virgin Glorious (Virgo Gloriosa) 
and represents the second Eve, the mother of all 
mankind. (See Plate IX.) 

When her hands are jomed in prayer, she is 
the Virgin of Virgins (Virgo inter Virgines) or Queen 
of Virgins (Regina Virginum). 

When She ts holding a book, She is the Most 
Wise Virgin (Virgo Sapientissima), imbued with the 
wisdom of Heaven. As such She is to be seen in the 
left upper panel of the great Adoration of the Lamb 
altarpiece by the Van Eycks at Ghent. She is here 
clad in a blue robe with a richly jewelled border, 
while upon Her head is an exquisite crown of jewels 
surmounted with lilies and lilies-of-the-valley (mu- 
guets), while still higher are the seven stars. This isa 
most uncommon rendering of the Madonna, when 
she is subordmate to Her Son, for generally She is 
represented devoutly contemplating Him, with Her 
hands folded across Her bosom. Only when She 
Herself is the chief figure, or is with Her Son as a 
child, does She elsewhere than in this great master- 
piece carry a book. (Plate IX.) | 

When the Madonna is crowned and attended by 
angels, she is the Queen of Angels (Regina Angelo- 
rum), even when She is accompanied by the Child, 


or in glory—in the heavens—or on an elevation with - 


saints on a lower plane, as in the lovely Bonfigli 
picture in St. Fiorenzo in Perugia, or the celebrated 
Tondo—circular picture—by Botticelli in the Uffizi 
Gallery m Florence, inaccurately styled “‘The Coro- 
nation of the Virgin,” better known as the Mag- 
nificat. 

When the Virgin is wearing a crown over her veil 
and bears a sceptre in her hand or either separately, 
she is the Queen of Heaven (Regina Coeli), as in the 
Piero di Cosimo altarpiece painted for the Servite 
Order, in which She is presented standing alone on a 
raised pedestal surrounded by several saints. 

As the Virgin is shown in both these pictures, 
now in the Uffizi Gallery m Florence, holding a book, 
She is at the same time the Virgin, Mother of Wisdom 
(Virgo Sapientiae). 

Representations of the Madonna without the 
child were extremely rare prior to the middle of the 


30) 


Quattrocento, but there is one lovely Sienese picture 
by Domenico di Bartolo (1400-1449), pupil of 
Taddeo di Bartolo, in the Refugio (Girls’ School) 
Chapel at Siena, of the head, only, of the Virgin Mary, 
veiled and looked straight to the front with partially 
closed eyes, which is known as the Madonna Orans, 
the Virgin in prayer. 





THE VIRGIN, AS QUEEN OF HEAVEN, PREVENTS A DEMON FROM 
SNATCHING A CHILD FROM ITS MOTHER. NOTE THE FIVE 
SERAPHS EACH WITH A NIMBUS, AND THE MANDORLA THROUGH 
WHICH THE VIRGIN APPEARS. A NAIF WORK BY NICCOLO DA 
FOLIGNO (OR D’ALUNNO) IN THE COLONNA GALLERY IN ROME 

A curious picture by Niccold da Foligno (or 
d’Alunno) in the Colonna Gallery in Rome, shows 
the Virgin as the Queen of Heaven and of the Souls 
of Children. She is here depicted in the heavens, 
three-quarter Jength and crowned, in a rayed man- 
dorla (pomted oval glory) with five seraphs at its 
base, and striking with a Jong birch-rod (!) at a fear- 
some demon attempting to snatch from its mother a 
sick child. 

Among the other most important representations 
of the Virgin without the Child are the Mater Dolo- 
rosa (the Mother Grieving), the Stabat Mater (here 
stands the Mother), and the Pietd, all three being 
forms of the Mater Dolorosa characterisation. 

In the first, She ts generally depicted in deep 
grief, as the name implies, simply treated in the 
earlier schools, but usually in awful taste, with far 
too much dramatic feeling, in the decadent eclectic 
schools of the 17th century. She is frequently de- 
picted in this capacity with Her heart pierced with 
one or seven swords, symbolic of the Seven Sorrows. 


PU AgralxX THE SAINTS IN ART 














SOME TYPICAL REPRESENTATIONS 
OF THE MADONNA WITHOUT THE 
CHILD, AND BOTTICELLI’S FAMOUS 
SMAGNIFIGATS 



























































ny ee 
EUMER ERG ER 


Upper left: Pietd, by Perugino, in the Fiorence Academy, described on the next page. Low left: The reading Madonna 
of the “‘Adoration of the Lamb” altar-piece at Ghent, by the Van Eyck brothers (see page 34(c)). Upper right: The 
Maccabean mother and her seven sons, by Bartel Bruyn (c. 1460). (See pages 34(d) and 37.) Do not confuse with St. 
Felicitas and her seven martyred sons. The Jewish martyrs are always shown with amputated hands, and standing in a 
caldron. (Courtesy of the Ebrich Galleries.) Centre: The Virgin of San Venanzio, a 7th-century Greek mosaic in the 
church of the Lateran in Rome, showing the ancient attitude of prayer. Centre low: The Mater Dolorosa, from a 16th- 
century enamel. Note the seven swords symbolising the Seven Sorrows, also depicted in the medallions. They are: The 
Scourging, the Ecce Homo, the Road to Calvary, the Crucifixion, the Descent from the Cross, and the Resurrection. 
Centre right: Sketch for Raphael’s famous ‘“‘Entombment”’ in the Borghese Palace in Rome. Low right: Botticelli’s cele- 
brated Magnificat in the Uffizi Gallery in Florence (see page 34(b)). 


36 


An interesting variant of the Mater Dolorosa treat- 
ment is to be found in a remarkable picture in the 
possession of the Ehrich Galleries by Barthel Bruyn, 
the German painter (worked 1520-1560), in which 
the principal subject is the death of the seven 
Maccabean youths and their heroic mother (Mac- 
cabees: v11) suffering martyrdom in a huge cauldron 
over a fire. On the right is a figure of the Madonna, 
not grieving, but serene because of the beauty 
of the sacrifice, though appropriately surrounded 
by seven swords, pomting at Her heart. Probably 
also with intention the artist has depicted the Virgin 
with the features, expression, and even the exactly 
identical pose of the Maccabean mother, thereby 
symbolising her almost divine fortitude in sacrificing 
one by one her beloved sons, exhorting them even 
to the last-born to withstand the torture bravely, 
rather then deny the faith of their forefathers. On 
the left side, Our Lord, crucified, looks down benevo- 
Iently upon them, while a donor is portrayed in the 
lower right-hand corner. Another type of Mater 
Dolorosa shows the Virgin seated in the Clouds, 
upheld by seraphim with a large rayed glory behind 
Her head and shoulders and with seven swords, 
radiating, point inwards, from the circumference of 
the glory, around her head. Another mteresting and 
very unusual derivative of this aspect of the Virgin 
is to be found in a Madonna and Child enthroned, 
by Pietro Alemanus—Peter the German—also in the 
possession of the Ehrich Galleries, mm which the 
Mother of Christ instead of wearing the customary 
regal crown—when She is wearing one—is depicted 
with the spiked crown of martyrdom, and looking 
sadly down at Her Child. The significance of this 
interpretation is, of course, the mental martyrdom of 
the Woman upon losing her only son. 





The Stabat Mater always presents the Mother 
standing at the right of the Cross bearing the figure 
of Her Son, with John the Evangelist—who is 
almost invariably present in pictures of the Cruci- 
fixion, whether devotional or historical—at the left. 
This subject is always devotional for none of the 
historical attributes of the Crucifixion are depicted. 
Therefore in the Stabat Mater interpretation the 
Virgin is not alone the Mother of Our Lord, but also 
personifies the whole Church of Christ. She always 
wears a purple or violet mantle. 





The Pieta should present the Mother alone hold- 
ing Her dead Son lying at full Iength upon Her 
knees. Famous examples of this subject are 
the Cosimo Tura Prieta in the Correr Museum in 
Venice, where the Virgin is seated upon the edge of 
the ornamental tomb holding Her Son, half doubled 
up in her lap, and kissing His left hand; the great 
Perugino masterpiece in the Academy at Florence, 
in which, however, while the Christ is in the tradi- 
tional position across the knees of His Mother, there 
are others present. St. John the Evangelist, exqui- 


37 


sitely beautiful, supports His head and shoulders, 
while His feet lie across the knees of the seated Mag- 
dalene, who is gazing reverently at the wounds, and 
two other personages, without emblems in the pres- 
ence of the Great Tragedy, probably St. John the 
Baptist and St. Joseph, stand at the flanks. See also 
the splendid Quentin Matsys in the Munich Museum, 
and two interesting panels in the Metropolitan 
Museum of Art of New York. Another interpretation 
of the Pieta is particularly common in the North 
Italian schools, though not exclusively, where the 
body of Our Lord is upright, half in the sepulchre, 
and either alone, or supported by His Mother and 
St. John, or with saints upon either side of Him. An 
example of this version of the Pieta with Christ alone 
is in the Metropolitan Museum by a Venetian 
Primitive, Giambono (worked 1420-1462), while in 
the church of S. Domenico in Cagli, Giovanni 
Santi painted our Lord, unsupported, but flanked 
by St. Jerome and St. Bernardino of Siena. 
Of the versions showing the half-figure of Christ 
upheld by the Virgin and St. John the Baptist, per- 
haps the most famous is the Giovanni Bellini in the - 
Brera at Milan, while in another work by the same 
great master, at the Berlin Museum, Our Lord is 
upheld by two angels. One of the most celebrated 
pictures extant is the Pietd, generally known as “The 
Dead Christ,” by Mantegna, also in the Brera. Here 
the body of the Saviour is drawn lying flat on a slab 
of stone, feet foremost, a remarkable study in fore- 
shortening and anatomy. Still one more curious 
example, by Giovanni Bellini, is in the Venetian 
Academy, for here the figure lying across the knees 
of the Virgm is not Her crucified Son. It is the 
sleeping Child. But the position of His Body, exactly 
similar to that of the traditional Pietd, and the sad 
expression on the Virgin’s face, indicate that the 
artist intended this work to represent, as it were, a 
pre-vision of the day of the true Pieta. The Preta 
subject must not be confounded with two others which 
resemble it very closely in general composition, so 
much so, indeed, that important museum catalogues 
have failed to make the distinction, viz.: The 
Descent from the Cross, and the Burial of Our 
Lord. Both these subjects fall into the class of bis- 
torical pictures, and contain a number of figures con- 
temporary with the event of the Passion, whereas the 
Pieta is essentially a devotional picture. (See Plates 
II, IlI, IX, and passim.) 





The Annunciation is naturally enough one of the 
favorite subjects among painters of all periods. We 
have mentioned these pictures previously in specify- 
ing the difference between devotional and narrative 
pictures, but there are other points which require 
explanation if this work is to be of practical value 
to the visitor to picture galleries. The different 
schools of painting and even the individual artists 
have treated this most mystical of subjects in a 
myriad different ways according to the degree of their 


lelyeV ible, ok THE SAINTS IN ARG 











HOW FOURTEENTH TO SIXTEENTH 
GENTURYSELALIANSE ATIVE ERS 
DEPICTED THE ANNUNCIATION 





ae & bs ‘ ¢ x J Cus: main > “i 

Upper left: In the brilliant Carmelite friar, Fra Lippo Lippi’s, Iovely Annunciation in the National Gallery, the 
Dove alights on the Virgin’s book. The Almighty is represented as a Hand emerging from a cloud (see page 32(a)). 
Middle left: In this interesting work by an unknown 15th-century Italian, im Santa Maria Novella in Florence, the 
Angel Gabriel remains outside the door, while the Dove despatched by God—represented full-length—is close by her 
ear. Low left: Cosimo Roselli (1538-1406) shows the Archangel “explaining,” to a not very interesting Virgin, the 
mystic news. It is typical of Rosselli’s quattrocento simplicity. Note the saints present in this devotional Annunciation, 
now in Louvre. Upper centre: Herri met de Bles, in this charming Annunciation in Notre Dame at Bruges, gives the 
angel a royal sceptre and a crown of lilies. Lower centre: An exquisite Virgin—after the Annunciation—by Melozzi da 
Forli in the Uffizi. Upper right: Childish, but sincere, work by Niccolo d’Alunno with a typical 14th-century angel 
pointing backward with his thumb (1!) at the Dove. Note the garden and book. Centre right: Lorenzo di Credi’s picture in 
the Uffizi comprises no Dove. Low right: Carlo Maratta’s (1624-1713) Annunciation in the Corsini Gallery in Rome 
(pages 16 and 39(b)). 








technical skill, their reverence, their feeling for 
the mystical, and their sense of the dramatic. 
Then again the object of the picture had a bearing 
upon its treatment, e. g., when an Annunciation was 
offered as a votive picture for some monastic 
assembly. In such cases the figure of the Virgin is 
often so depicted that she is, in a way, in trono, that 
is to say enthroned—although she is not so actually 
—for she is then treated as the Mother of God in 
prospective rather than the unsophisticated Virgin 
of the majority of Annunciations. As explained 
further on, the Madonna in trono is a type of terres- 
trial glorification of her as the Mother of Our Lord, 
in contradistinction to the more earthly, human, 
mother of the usual Madonna and Child pictures. 
In most cases, she is actually enthroned, as in the 
Fra Bartolommeo, in the Louvre, previously men- 
tioned, but in the others, the two Francias, she is 
standing upon a slight elevation of rock. In the 
Annunciation by Francia in Bologna (Page 15) 
the presence of the Franciscan Patriarch, St. Francis 
of Assisi, and St. Bernardino of Siena, flanked re- 
spectively by St. John the Evangelist, recording the 
great event in his book, and St. George, in armor 
with a broken lance, shows that this great work was 
executed for the Franciscans. Mrs. Jameson states 
(Legends of the Madonna, Part II) that in this pic- 
ture as in the Fra Bartolommeo picture in the 
Louvre, the subject is not an Annunciation, but a 
depiction of the Virgin after the Annunciation. This 
is not quite correct, for in both pictures, in fact in all 
similar ones, the Archangel Gabriel is shown arriving 
and about to make the mystical announcement. On 
the other hand, the Carlo Maratta mentioned pre- 
viously, and the lovely Melozzo da Forli in the 
Uffizi in Florence are not annunciations but pictures 
of the “Virgin Notified”? (La Vergine Annunziata). 
In the former case, she is reading an open book, while 
in the latter she is kneeling with her hands crossed 
over her breast, in an exquisitely beautiful attitude 
of thanksgiving and humility. In a picture by 
Timotei Viti, Raphael’s first master, now in the 
Brera at Milan, the Virgin is standing, with her 
hands jomed in prayer, and her symbolic sealed 
book in the crook of her arm. On her lIeft—looking 
at the picture—are St. John the Baptist, and St. 
Sebastian, the former as patron of Florence, the latter 
as patron against pestilence. Here again the angel— 
without a lily—makes the Divine announcement, 
pointing upwards to a Child Christ stepping out of 


a circular glory, with one foot upon the head of the’ 


Holy Ghost. 

But the customary form of the Annunciation 
picture is as an event, that is to say with the acces- 
sories as mentioned in the Gospel according to St. 
Luke, 1:28-38, and the Virgin either in a house or 
upon the porch thereof, for St. Luke says: “And the 
angel came in to her,” and the artists of the Trecento 
and Quattrocento were above all literal m their 
interpretations. The angel is the Archangel Gabriel, 


39 


who bears a lily in his hand, as the emblem of purity. 
He is always depicted young and with wings. Fre- 
quently in the earlier pictures, the Virgin and the 
angel are shown in two adjacent panels, forming a 
diptych. In some again, instead of the arrival of the 
Divine Messenger taking place in broad daylight, 
the scene is laid at midnight. In many works, the 
angel is crowned with olives, symbolic of peace, and 
occasionally, though rarely, bears a palm. 

Again in the earliest pictures the Virgin is de- 
picted as humble and submissive to the Divine 
“command,” but later she became a Queen among 
women and is shown crowned, and almost conde- 
scending, towards the Archangel, treating him, as it 
were, as a simple messenger between two Superior 
Beings. Mrs. Jameson states that Mary’s work 
basket is seldom omitted in pictures of the Annun- 
ciation, but I have found it far less general than 
a book, which is shown open, though the sealed 
book is the correct symbol. The Holy Ghost, 
despatched towards her by the Almighty, repre- 
sented either as a Hand or by a bust-length figure, is 
practically universal in all pictures up to the end of 
the Quattrocento, but later the Dove was introduced 
alone, and sometimes even that was absent, the 
angel appearing without it, as in the beautiful 
Lorenzo de Credi in the Uffizi Gallery (Plate X). 

In the charming lunette by Fra Lippi Lippi in the 
National Gallery, the Dove is about to alight upon 
her open book, with the Almighty presented as a 
Hand emerging from the surrounding darkness. And 
mn a Taddeo Gaddi panel in the Louvre the Dove ts 
despatched to the prayerful and attentive Virgin by 
another angel, while a third in dark robes kneels 
behind the Archangel Gabriel. In late pictures, of 
the latter end of the 16th century and after, a 
dramatic quality entered into the pictures of the 
Annunciation, in. the worst of taste, for of all sub- 
jects portrayed in art, the nature of the Annunciation 
is such that it requires the most delicate, mystical, 
treatment, from which all earthly matters should be 
eliminated as completely as it is possible to do so. 





The Immaculate Conception is a comparatively 
modern subject in art, having only become an article 
of faith, definite and obligatory, in July, 1615, upon 
the issuance of a Papal Bull by Paul V, who ruled 
the church from 1605-1621. Prior to that, however, 
the Franciscan pope, Sixtus IX (1471-1484), had 
issued a decree promulgating the doctrine, thereby 
giving official recognition to what had long been a 
favorite creed of his monastic brethren. It must not, 
however, be thought from this that the doctrine was 
a new one. On the contrary, the matter had been a 
subject for discussion ever since the victory of the 
orthodox church over the Nestorians had firmly es- 
tablished, as an article of faith, the Divinity of the 
Mother of Christ. From the 7th to the 11th century, 
the doctrine grew more and more popular, following 
the writings of St. Ildefonso, who, the legend relates, 


PLATE XI THE SAINTS IN ART 


iat 


y 


} 
a 
q 
5 
} 
i 
i 
A 





1) Murillo’s famous “Immaculate Conception” in the Paris Louvre. Note the upturned points of the moon’s 
crescent (see page 51). 2) The “Death of the Virgin” by the Master of the Bambino Vispo (lively child). Note how 
Christ holds in His arms the fully-clothed “Soul” of His Mother (see page 27, ““INFANT’’). (By courtesy of the Ebrich 
Galleries.) 3) The great “Coronation of the Virgin, with the Twelve Apostles,”’ an early work by Raphael, in the Vatican. 
5) ASketch by the great French master, Pierre Paul Prudhon (1748-1823) for his beautiful “Assumption” in the Louvre. 


40 


was rewarded therefor by the Virgin appearing to 
him in his cathedral of Toledo, where she sat upon 
his tvory throne and vested him with a chasuble of 
heavenly tissue, a favorite subject of Spanish paint- 
ers up to this day. Curiously enough St. Bernard, 
who ts regarded as a special devotee of the Madonna, 
strenuously opposed the establishment of a festival 
to commemorate the mystic event, though he did 
not deny the truth of the doctrine. His opposition, 
perhaps, sprang from his instinctive dislike of 
possible controversy in reference to so delicate a 
subject, and I believe my theory is upheld by what 
is known of St. Bernard’s breeding and exquisite 
refinement of thought, particularly as he was quite 
aware of the extraordinary lengths to which analysis 
of any abstract idea was carried by the scholiasts 
of those early days. Duns Scotus, the Scottish 
Franciscan, in the 13th century became the cham- 
pion of the festival, but was opposed by that most 
brilliant of ecclesiastical polemists, St. Thomas 
Aquinas, who, like St. Bernard, was especially 
devoted to the cult of the Blessed Virgin. The con- 
troversy has been continued even down to our own 
times, the last papal decree regarding it being signed 
by Pius IX, and dated 1849. 

In art, Pacheco, first master, and father-in-law of 
Diego Velasquez, having been invested with con- 
siderable authority as mspector of sacred pictures 
under the Inquisition, formulated rules for the repre- 
sentation of the Virgin in the characterisation we 
are discussing. He took the woman of the Apoca- 
Iypse as his model: ‘‘And there appeared a great 
wonder in heaven; a woman clothed with the sun, 
and a moon under her feet, and upon her head a 
crown of twelve stars.”’ (Revelation x11:1.) 

She was to be shown in the flower of youth, from 
twelve to thirteen years of age, with golden hair and 
“grave sweet eyes,” arrayed in spotless white with a 
blue mantle or scarf, and her hands joined in prayer 
or crossed upon her bosom. The sun was to be a 
glory of light around her, while the moon beneath 
her feet was to be a crescent with its horns pointing 
downwards, for it was illuminated by the figure 
standing upon it. Cherubim and seraphim were to 
surround her carrying her symbolic flowers, and the 
head of the dragon of sin was to be displayed, 
bruised, beneath her feet. Pacheco also decreed that 
the Virgin of the Immaculate Conception was to be 
depicted with the hempen rope girdle of St. Francis, 


probably as a recompense to the friars of that order — 


for their zeal in the fight to obtain official recognition 
of their favorite doctrine. Murillo and Guido Reni 
are the two most famous painters of this subject. 
The great picture by the former (see opposite page) 
is known, either im the original or by reproduction, 
to all who are interested in art, but his rendering of 
the prescribed details is most unorthodox. Neither 
he nor Guido Reni painted the crescent of the moon 
with its points downwards—thereby losing the sig- 
nificance of the ordinance—feeling that, in a material 


4! 


sense, it afforded a better support with the points 
upwards. 

The Assumption properly comes under the head- 
ing of “Historical Pictures of the Lives of Christ 
and the Virgin Mary,”’ Chapter XII, but we must 
mention here that the subject was treated in two 
ways by the old masters. They differentiated be- 
tween the Assumption of the Soul of the Virgin, and 
that of her body. An example of the former is the 
picture by the Master, “del Bambino Vispo,”’ (see op- 
posite page) in which Our Lord is depicted half-length 
and supported by seraphs, above the death-bed of 
His Mother, whose soul, in the guise of a young 
child fully clothed, He holds in His arms. But the 
usual form of the Assumption is that in which the 
body of Mary, called forth from the tomb by her 
Divine Son, has rejoined her soul, and she is borne 
to Heaven by angels. Moretto’s great picture in the 
Martinengo Gallery in Brescia, and the very beau- 
tiful Prudhon “‘Assumption”’ in the Louvre are both 
too well-known to require description. (Plate XI.) 





The Coronation of the Virgin was another favorite 
form of devotional picture, and its subject, happier 
than that of many large religious groupings, lent 
itself to the most gorgeous display of color and 
brilliancy. In the “correct”? representation, Our 
Lord is depicted in the act of placing a regal crown 
on His Mother’s head, but in two well-known paint- 
ings, it is the Almighty who bestows the crown upon 
the Virgin; in neither case does the Saviour appear 
at all. The works I refer to are those by Fra Lippo 
Lippi,,in the Academy m Florence, and the Fran- 
ciscan votive picture by Raffaellino dei Carli, in the 
Louvre, in which the Celestial Pair are upheld in 
the heavens by angels and seraphs, while below, on 
earth, are SS. Jerome, Francis of Assisi, Bonaven- 
tura and Louis of Toulouse. (Plates XII and IV.) 

But all the most famous pictures of the Corona- 
tion, such as the great Raphael, above the flowering 
sepulchre; the splendid votive Franciscan Corona- 
tion by Pinturicchio with Our Lord and His Mother 
in a mandorla; the Gentile da Fabriano, all in the 
Vatican; the celebrated Fra Angelico in the Louvre; 
the early Jacobello del Fiore in the Accademia of 
Venice; the Fra Angelico in the Uffizi; and the Coro- 
nation, of the school of Giotto, in the National Gal- 
lery; all these pictures represent the Virgin receiving 
the crown at the hands of Her Son. In a few excep- 
tional works, such as the remarkable picture by the 
Venetian primitives, Giovanni d’Alemagna and An- 
tonio Vivarini in the Venice Accademia; and the 
Coronation by Enguerrand Charonton at Villeneuve- 
Ies-Avignon, described in Chapter I, the Crown is 
placed upon Mary’s head by both the Almighty and 
Our Lord, while the Holy Ghost hovers with out- 
spread wings above it. (See List of Illustrations.) 

Of all the old renderings of this wonderful sub- 
ject, which symbolises so beautifully the homage 





PLATE XII THE SAINTS IN ART 










































































































































































































































































































































































































































































a a eh eo 













































































































































































































































































































































































































































































































































































































































































1) Coronation of the Virgin, by Fra Lippo Lippi, in the Florence Academy. The painter himself, in the garb of a Carmelite 
friar, is kneeling at the extreme right, by the side of St. John the Baptist, while an angel, facing him, holds a scroll inscribed Jste 
perfecit opus. (This man accomplished this work.) 2) Coronation, by an anonymous artist of the school of Giotto, in the 
National Gallery. 3) Lo Spagna’s fine version in the Palazzo Pubblico at Todi, painted for the Franciscans. St. Francis is 
seen kneeling in the centre of the terrestrial group. 4) Fra Angelico’s Coronation, in the Louvre. It includes. many Saints 
(from left to right) The Apostles, on the steps at the left; SS. Dominick, with a lily; Louis of Toulouse, as a bishop; Benedict; 
Charlemagne, crowned; Thomas Aquinas, with his shining book; Anthony, Francis of Assisi; Nicholas of Myra, and St. 
Augustine; Mary Magdalene; Cecilia, with a crown of roses; Clare, with a starred hood; Catherine and Agnes, with their 
respective wheel and lamb; Ursula, crowned; above, Stephen and Lawrence, each in a dalmatic; George, in armor, and Peter 
Martyr, with the gash in his head. At the top, crowned, is King David. 5) Christ and His Mother, by Andrea, Orcagna. 
6) The Coronation of the Virgin, by Borgognone (1450-1523), in S. Simpliciano, Milan. 7) Moretto’s Coronation, in Brescia, 
with SS. Michael, Anthony, Francis, and Nicholas of Myra, holding the three balls of gold in his hand. 





paid by the Son to the Mother, the grandest, I think, 
are those where the coronation takes place in a 
great palace in which the throne of Our Lord is 
placed upon the summit of a glittering staircase, 
around the foot, and upon the steps, of which 
are grouped the whole hierarchy of the Saints, 
with their emblems and attributes. Of such is the 
famous Fra Angelico in the Louvre, one of the most 
popularly-known pictures extant. (See Plate XII.) 
All the most important saints are grouped around 
the throne, in front of which kneels the Virgin, while 
Jesus, with a royal crown, places another upon the 
head of His Mother. But although the throne and 


Its steps are commonly used, the scene ts habitually 


ai 





EXQUISITE EARLY MADONNA AND CHILD OF THE Mater 
Amabalis TYPE, BY GUIDO DA SIENA. 

(In the Collection of Mr. Dan Fellows Platt.) 
represented as being out of doors, as in the interesting 
Jacobello del Fiore (1370-1439) in the Venice Acad- 
emy. In that picture, the Virgin is seated on the 
right hand of Jesus Christ, but turned towards Him 
in an attitude of prayer. The throne itself is covered 
by a double canopy, one arch of which forms a niche 
for each one of the Holy Pair. It is placed on a 
tesselated platform upon an elevation, divided into 
two terraces of niches, the upper of four, sheltering 
the Evangelists, the lower of seven—always that 
mystic seven!—occupied by angelic musicians. Im- 
mediately next to the throne are numbers of sera- 
phim and cherubim, and then im vertical columns, 
on both sides, the Apostles, Prophets, Saints and 
Angels. Beneath these columns of saintly person- 
ages, and much smaller, are groups cf Dominican 
saints, the male saints on one side and the female on 
the other, while a Bishop donor, also small, but 


43 


larger than the monastic saints, kneels in front of 
the imposing structure, with his mitre before him on 
the ground. This indicates clearly that it was 
painted for the Dominican order to which belonged 
the Bishop of Ceneda, the donor. The picture was 
painted for the cathedral of that city, and hung 
there until it was transferred to the Accademia. 
Commoner far than these very ceremonial interpre- 
tations of the Coronation are those which were 
painted as votive offerings for some monastic order 
or in thanksgiving for deliverance from pestilence 
and famine. In such works, the celestial group is 
generally shown in the heavens, either in a circular 
glory, as in the Fra Angelico, of the Convent of San 
Marco, Florence, or in a mandorla, as in the pre- 
viously-mentioned Pinturicchio in the Vatican, or 
simply sustained by clouds or seraphs, or both, as 
in the Raphael “Coronation”’ in the same wonderful 
collection. (See Plate XXXIV and page 116.) 

The true Coronations either by the Almighty or 
the Son, or both together, must not be confused with 
those in which angels are placing a crown upon the 
Virgin’s head, for there the act simply symbolises 
her standing as Queen of Heaven, or Queen of the 
Angels, e. g. Botticelli’s Magnificat. 





THE MADONNA AND CHILD PICTURES. 


When the Virgin, with her hands joined in 
prayer, holds her Child upon her knee, or He is 
placed upon some object in front of her, or when 
He ts lying on the ground, while His Mother kneels 
praying before Him, she is the Pious Mother (Mater 
Pia). Raphael’s beautiful Madonna with the Blue 
Diadem (page 67); Lorenzo di Credi’s ‘Virgin 
in Adoration’’—another name for the Mater Pia—in 
the Metropolitan Museum; Fra Lippo Lippi’s cele- 
brated picture in the Berlin Museum, and Botti- 
cini’s in the Pitti, in Florence, come under this head- 
ing, a very popular subject. Occasionally the Vir- 
gin’s hands instead of being joined are outspread in 
the ancient attitude of prayer, as in the Leonardo 
da Vinci drawing in the Metropolitan Museum and 
the adorable Correggio in the Uffizi. 

But when the Madonna is holding her Infant, 
more as a human mother than the Mother of the 
Son of God; when she is suckling Him, or when the 
Divine Child ts in a playful humor or attitude, the 
Virgin represents that most beautiful version of the 
idea, the Loving Mother (Mater Amabalis). Almost 
all Raphael’s Madonnas, notably the Colonna Ma- 
donna in the Berlin Museum and the Orleans Madonna 
at Chantilly; the charming Madonna with the Green 
Cushion by Andrea Solario in the Louvre, and thou- 
sands of others fall into this category. It also com- 
prises that large class of pictures in which the infant 
John the Baptist is included, e. g., the Fra Bartolom- 
meo and Raphael pictures in the National Gallery; 
the Esterhazy Madonna; the celebrated “‘Belle Jar- 
diniére” by Raphael in the Louvre, and the Lorenzo 


Lotto in the Brera, where the Infant Christ is mis- 
chievously pulling the hair of His little play- 
fellow. 

When the Madonna, with her Child, is accom- 
panied, usually either in pastoral surroundings, or in 
a large room, by St. Joseph, her spouse, St. Elisabeth, 
her kinswoman, St. Anne, her mother, and St. John the 
Baptist—who should not be present in a ‘Madonna 


Enthroned’’—the picture is called a Holy Family. 
The Virgin and Child Enthroned. The Madonna 


splendid of 





in trono is the most and 


regal 





CHARACTERISTIC BYZANTINE MADONNA in trono WITH THE 
CHILD CHRIST. NOTE HOW HE IS FULLY CLOTHED (SEE PAGE 12) 
AND THE ‘TYPICAL THRONE OF ALL I3TH CENTURY PICTURES. 

(From a picture in the possession of Mr. Otto Kabn.) 


all the representations of Our Lady. In such 
representations, of which there are literally thou- 
sands in Italian art, she is not only Sancta 
Dei Genetrix, the Sacred Mother of God, but 
is also the Queen of Heaven. They testify to the faith 
of the church in the divinity of Jesus Christ. The 
variations upon this theme are mnumerable. As 
a rule the Blessed Virgin is seated upon a throne, 
but frequently she is standing upon an elevation 
surrounded by angels and saints. In its purest form 
the pictorial presentment of the Madonna enthroned 
should comprise no other member of the Holy 


44 


Family, though since the Quattrocento, first St. 
John the Baptist, then St. Anne, the mother of the 
Virgin, were occasionally introduced. The throne 
itself and the position of the Madonna in relation to 
the surrounding saints Is a precious indication as to 
the provenance of an Italian picture. In Florentine 
works the throne is placed low, at the most two to 
three shallow steps up, and in the majority of cases 
is placed beneath a shell-like niche in an architectural 
setting. In the great Madonna with St. John the 
Baptist and John the Evangelist as an old man, by 
Botticelli in Berlin (page 65), the shell niche is 
repeated over the heads of the three, but is not 
architectural. It is composed in each case of symbolic 
fruits and flowers, e. g., lilies and ears of wheat, 
pomegranates, olives, etc. The great architectural 
thrones of Duccio di Buoninsegna and Cimabué, 
constructed in the Byzantine manner and supported 
by angels, are known to all art-lovers. Giotto and 
his followers generally placed the Madonna and 
Child on a low throne, the back of which was sur- 
mounted by a sharp angular gable or a gothic arch, 
alone in the center panel, with one saint in each of the 
gothic-arched panels on either side. The Central 
Italian Schools, of Siena and Umbria, also depicted 
the Madonna on a Jow throne, but with the saints in 
more Intimate contact with her than in the colder 
Florentine pictures. She is very frequently sur- 
rounded by angels, adoring her, whereas angels, in 
Florentine pictures of the Enthroned Madonna, are 
generally employed for some utilitarian object, as 
for example, drawing aside the curtains of the balda- 
chino over the throne. In pictures of the northern 
Italian Schools, the throne is placed very high, and, 
particularly by Venetian painters, angels are in- 
cluded, seated at the foot of the high “pedestal” 
playing musical instruments. A famous Giovanni 
Bellini with SS. Francis, John the Baptist, Onofrio 
the hermit, Bernard, Sebastian and Louis of 
Toulouse, in the Venice Accademia is an example, 
while Carpaccio’s musician angels are universally — 
known and beloved. Cima da Conegliano places his 
Madonnas on a fairly low throne, with a panel back, 
in the open air, while Girolamo dai Libri paints his 
beneath beautifully-executed trees in a rocky land- 
scape. A fine painting by this master is in the 
Metropolitan Museum. The great Giorgione at 
Castelfranco, considered by some of the most exact- 
ing critics to be the only indisputable work by that 
master in existence, is remarkable even among 
Venetian works for the height of the pedestal upon 
which the architectural throne of the Madonna is 
placed (see Plate XV). The thrones of the early 
Flemish painters were gorgeous things draped with 
wonderful embroideries or carpets, but there is 
rarely to be found among the northern masters that 
air of regal aloofness and sense of the Virgin’s great 
destiny which is the proper feeling for the Madonna 
in trono and which the Italian masters achieved 
instinctively. (See, however, Memlinc’s, page 17.) 


RUAUEE XIII THE SAINTS IN ART 


_— 


<a 
lebEStO Palit 


({ “MATER AMABILIS” 
\ X BY FAMOUS ARTISTS 


\ 


\ 
\ 
\ > 


\ 


WOW DEERE PEEVE ED GEAV OD ID HEA KOIDE RAE HAT OW HEP ROO HRIOIO PIN VRAD 
Rolie caro . Rat Ae Ne i nee = a 


Le te 


pes 


ror 


1) Madonna in Adoration, by Botticini, formerly attributed to Filippino Lippi, in the Pitti Palace (see page 46). 2) Holy 
Family, with SS. Joseph and John the Baptist, as a child, by Andrea del Sarto, in the Metropolitan Museum. 3) An exquisite 
Madonna in Adoration by Pier Francesco Fiorentino, in the Ehrich Collection. It was very strongly inspired by the great Lippo 
Lippi picture in Berlin, even to the folds of the Virgin’s dress. 4) Raphael’s celebrated “Belle Jardiniére,”’ in the Louvre, 
painted in his Florentine period in 1507. 5) Madonna and Child, by Fra Lippo Lippi (1406-1469) in the Munich Gallery. 
(Compare with figures 7, 3, 4 and note the already lightening nimbus.) 6) Madonna and Child with the little St. John, by Fra 
Bartolommeo, in the Louvre. 7) Remarkable Madonna and Child, by Carlo Crivelli, in the Civic Museum of Verona. Note the 
small figures bearing the implements of the Passion, and the garland of fruits, symbolic in this case. 8) Raphael’s great “Cani- 
giani Holy Family,” at Munich, with SS. Joseph, Elizabeth, and John the Baptist. 9) Procaccini’s (1548-1626) Madonna, also 
in Munich, demonstrates to what heights of affectation painters of the Italian decadence attained. 





45 


THE SPECIAL SYMBOLS OF THE VIRGIN 
INSTR EVAR LS 


Seven of the ancient prophets who made special 
mention of the Incarnation: Moses, Aaron, Gideon, 
Daniel (11:45), Isaiah (vu1:14), Ezekiel (xtiv:2), and 
David, who was also her ancestor. 

Five women of the Old Testament, who are some- 
times placed around her and were considered as 
types of the Virgin: Judith and Esther, for they 
delivered Israel; Ruth, the ancestress of David; 
Bathsheba and Abishag, both for reasons which 
must appear far-fetched to our modern minds. 

The Virgin is also represented, betimes, as the 
Second Eve when she holds an Appte in her hand, 
or if the Child Jesus is depicted eating it. A curious 
unattributed picture of the 14th century Italian 
School in the Louvre represents Eve, nude save for 
her long hair, lying prostrate before the throne of 
the Madonna and Child, around which stand saints 
and angels, while a serpent with a woman’s face Is 
spitting evil towards Eve’s open mouth. Eve’s head 
is surrounded by a nimbus with concave indentations 
all round its edge. 

Birps symbolise the Soul, and for that reason 
are frequently put into the hand of the Child on His 
Mother’s Iap., e. g., Raphael’s Madonna with the 
Goldfinch (Madonna del Cardellino). 

A Book, when open, is that of wisdom, when it is 
held by the Virgin. A closed book is given to her in 
many Annunciations, in reference to the 29th chap- 
ter of the Book of Isaiah: “And the vision of all is 
become unto you as the words of a book that ts 
sealed.) ; 2 

The CLosep Gate; the ENCLOSED GARDEN (Can- 
ticles 1v:1), so frequently found in Annunciations; 
the Mirror in reference to a passage in the Book of 
Wisdom, vi1:26: “‘For she is the brightness of the 
everlasting light, the unspotted mirror of the power 
of God... ;” are all symbolic of the Virgin Birth. 
A beautiful example of the use of the Enclosed Gar- 
den symbol is the Madonna worshipping Her Child, 
surrounded by angels, the whole group in a charming 
Renaissance garden, by Botticint—formerly attrib- 
uted to Filippino Lippir—in the Pitti Palace in 
Florence. 

The CeEparR oF LEBANON, on account of its 
height, and its healing qualities and the incorrupti- 
bility of its core, symbolises the grandeur, dignity, 
and bounty of Our Lady. 

The Dove is the Holy Ghost, or Holy Spirit, 
which hovers constantly above her; seven of them, 
the Seven Gifts of the Spirit. 

The Liry, the Rose, are again allusions to the 
Canticles: “I am the Rose of Sharon and the Lily 
of the Valley.” The Rose is the special emblem of 
the Virgin, who is often depicted in or near a garden 
of roses. In an interesting votive Madonna and 
Child panel of the early German school, the Divine 
Group as well as a donor in a white surplice, and his 


wife, and two angels, are all enclosed in an oval of 
small conventional roses, with five large ones repre- 
senting the Wounds of Our Lord, the whole upheld 


. by extremely naive angels, one at each corner. The 
“large rose at the summit is charged with a wounded 


46 


heart. 

The Pear, the Otive, the SERPENT, the PoME- 
GRANATE, Ears OF WHEAT are all explamed in 
Chapter III in their alphabetical place. 

The Sun and the Moon refer to the passage in 
Revelation, quoted previously in regard to the 
Immaculate Conception, and also to a passage in the 
Canticles: “Fair as the Moon, Clear as the Sun” 
(Canticles vi:10). Also, from an early association 
with paganism and Diana, the crescent of the moon 
symbolises the Virgin’s perpetual chastity. 

The Srar is frequently placed upon the left 
shoulder of the Madonna’s blue cloak, from an inter- 
pretation of her Hebrew name, Miriam, which can 
be translated as ‘‘Star of the Sea”’ (Stella Maris), but 
she is also the Morning Star, the Immovable Star, 
and the Star of Jacob. When she has twelve stars as 
a crown or halo, it is a reference to the Apocalyptic 
passage, previously mentioned, and perhaps, though 
to my mind the notion is far-fetched, to the Twelve 
Apostles. 

A very beautiful half-length picture by Fra 
Angelico of the Madonna holding Her Child on 
her arm, belonging to Mrs. Benjamin Thaw, has a 
brilliant star on the right shoulder. 

The “WELL oF Livinc Waters” (Cant. Iv:15), 
the ‘‘FouNTAIN SEALED (Cant. Iv:12), the “Tower 
oF Davin” (Cant. 1v:4), the “City of JERUSALEM” 
(Cant. v:4) are frequently introduced into early 
pictures, and oftener still mto illuminated missals 
and stained glass. The Fountain, the Enclosed 
Garden and the Cedar are all present in the beautiful 
Madonna and Child by Quentin Matsys in the Berlin 
Museum, and in the remarkable work of the same 
subject by Coninxloo in the Palermo Museum, 
while there is a charming rendering of the Enclosed 
Garden, in a Madonna and Saints with Donors, by 
the Master of the “Life of Mary,” in the Berlin 
Museum, and, among Italian masters, the Madonna 
in Adoration by Botticini, previously mentioned, is 
a good example. (See also Plate XIV, Fig. 9.) 

The ANGELs of which mention was made in the 
section dealing with the “Madonna Enthroned”’ are 
not simple accessories. They, like all other details 
in sacred pictures, have their meaning, relating to 
the fact that the Virgin was the Patroness of music 
and minstrelsy. In Nativities, the musician angels 
are singing the Gloria in excelsis; m Coronations, the 
Regina Celi; in pictures of the Madonna in trono, 
with donors, they are entoning the Salve Regina, 
Mater Misericordiae. In the type of Madonna and 
Child which we have classed as the Mater Amabilis, 
the loving mother, or those known as Pastoral 
Madonnas, the angels are chanting the Alma Mater 
Redemptoris. (See Plate XVIII.) 





PLATE XIV THE SAINTS IN ART 





ad 


1) Madonna and Child, by Duccio di Buoninsegna of Siena (d. 1319) in the Rucellai Chapel at S. Maria Novella in Florence 
(see pages 12 and 44). 2) Madonna, by Jacopo Bellini (d. 1470), the father of the famous brothers, Gentile and Giovanni. 
3) The Mystic Marriage of St. Catherine, with SS. Barbara, Peter and John the Baptist in a Venetian Landscape, by Boccaccio 
Boccaccino of Cremona (1467-1525). 4) Madonna in trono between SS. Nicholas and Catherine, with a donor, by Gentile da 
Fabriano (1360-1427). Note the angels with attributes in the trees. 5) Holy Family, by Paolo Veronese, in the Venice Academy. 
St. Joseph is with the Madonna; below are SS. Justina, Francis, and Jerome. 6) Diirer’s famous ‘‘ Madonna with the Monkey,” 
anengraving. (Courtesy of M. Knoedler and Co.) 7) Correggio’s “‘Madonna with St. Sebastian”’ as it is known in the Dresden 
Gallery. The centre figure below is some bishop who built the church in the hands of the angel, while on the right is St. Roch, 
with his hand on his wounded thigh. 7) Madonna and Child by Gerard David, Bruges (d. 1523). Note the bunch of grapes 
in the Child’s hand (see page 25(c)). 8) Madonna by Isenbrandt, in the Metropolitan Museum. Note the Fountain, the 
Enclosed Garden, the Cedar of Lebanon, the Peacock, the Tower of David, etc. (see opposite page). 











47 


COLORS USED7 FOR THEFGARMENTS, OF 
THE VIRGIN MARY. 


As stated at the end of Chapter III, the tradi- 
tional colors of the Virgin, when she Is not arrayed 
in white as in the Immaculate Conception and the 
Assumption, or in purple as in a “Prieta”? and the 
““Stabat Mater,” are red and blue, the former for the 
tunic or dress, the latter for the cloak or mantle 
which covers it. But these rules are apparently like 
all others, made to be broken, for n many famous 
works we find the Madonna in other colors, or with 
the colors of her garments transposed. For instance, 
in the fine Madonna and Child by Jacopo Bellini in 
the Venice Accademia the Virgin is clad in an olive 
green cloak—of hope—held together at the neck by 
a gold and ruby brooch, while the Child wears a 
crimson dress, and is seated on a cushion of the same 





THE VIRGIN AND CHILD, IN THE “ADORATION OF THE MAGI” BY 

JAN GOSSAERT, IN THE COLLECTION OF THE DUKE OF NOR- 

FOLK, IN WHICH THE MADONNA IS CLAD IN A BLUE INSTEAD OF 
A RED TUNIC 


color, both embroidered with gold. The Virgin, of 
the Adoration of the Magi, by Jan Gossaert (Jan de 
Mabuse), in the Duke of Norfolk’s collection at 
Castle Howard, wears a long and full blue cloak over 
a white undergarment, of which, however, only a 
tiny portion shows, at the neck. Memlinc’s Madonna 
in Vienna is garbed in a blue tunic covered by a red 
mantle, as is the Virgin in the exquisite Nativity by 
Correggio at Dresden. The Holbein “Madonna of 
the Burgomaster Meyer” is dressed in a rich dark 
green costume with a flaming red girdle, and with 
golden yellow sleeves. She is crowned, without a veil. 
In Raphael’s famous ‘Sistine Madonna”’ at Dres- 
den, she wears the correct colors—as do all Raphael’s 
Virgins, but has a flowing green scarf or veil on Her 
head. The same costume is worn by the Mother of 
Christ in a beautiful Annunciation by Francesco 
Cossa, also at Dresden. But in the great Carlo 


48 


Crivelli altarpiece m the Brera of Milan, she wears 
a richly-embroidered golden mantle, Imed with 
green, over a tunic of brilliant crimson, and Is 
crowned with gold over a white gauze veil. 


CHAPTER RY 1 


OF THE HEAVENLY HosTs AND THEIR HIERARCHICAL 
RENDERING IN ART. 


This is no place for a treatise on the origin of the 
belief in, and the worship of, the Angelic Hosts, for 
all the information required upon that historical 
subject may be obtained from the Encyclopcedia 
Britannica—under “‘Angels’’—or in the reference 
books listed at the end of this volume. In order to 
live up to our desire to be, above all things, of prac- 
tical utility to those interested in the artistic repre- 
sentation of sacred subjects, we must confine our 
attention to the manner in which the angels have 
been depicted in art, rather than to the history of 
their interest for hero-worshipping mankind. 

Suffice, then, to say that the Greek word 
ayyeAXos from which our English name is de- 
rived, simply means ‘‘ Messenger,” and it is in their 
generic role as Messengers of God that we meet 
the angels most frequently m art. We must, how- 
ever, mention that angels are not the product of 
early Christian symbolism, but are mentioned 
throughout the Old Testament, from the very com- 
mencement of Genesis: So He drove out the Man, and 
He placed at the east of the Garden of Eden, CHERU- 
BINS, and a flaming sword. . . (Gen. 1:24). In 
Isaiah, v1:2, we find: Above it stood the Seraphim: 
each one had six wings; with twain he covered his face; 
with twain he covered his feet, and with twain did he fly. 
And in the Book of Daniel, x:13, there is a clear sug- 
gestion of hierarchic distinctions among the angels. 
But it is in the New Testament, naturally enough, 
that we find the most important reference to the 
Heavenly Hosts, in as far as regards the subject of 
this chapter: For by Him were all things created... 
whether they be THRONES or DomINIoNs or PRINCI- 
PALITIES or Powers. (Colossians 1:16.) 

And so we come to the hierarchical classification 
of the angels, which is the accepted one, among the 
majority of the early writers, and exclusively as far 
as pictorial representation is concerned. It is attrib- 
uted to a convert of St. Paul (Acts. xv11:34), a cer- 
tain Dionysius the Areopagite, who lived in the 
second half of the first century, but it did not appear 
in book form until the sth century, under the title of: 
De Hierarchia Celesta (Concerning Celestial Rank), 
in all probability based upon manuscripts left by 
the great Athenian philosopher.* 





*It is a common mistake to confuse St. Dionysius the 
Areopagite with St. Denis of France, and in art this confusion 
is almost universal. But historically it is generally conceded 
that the French theory is incorrect. Dionysius was a member 


PLATE XV THE SAINTS IN ART 









































































































































































































































































































































1) Madonna and Child, with angels, by the early master, Masaccio (1401-1428) in the collection of Rev. Arthur F. Sutton, 
Brant Broughton. 2) Madonna and Child, in a rayed and flaming mandorla, adored by SS. Mary Magdalene and Bernard of 
Clairvaux. By Botticini (1446-1498) in the Louvre, where it is attributed to his master, Cosimo Rosselli. 3) The great Castel- 
franco Madonna by Giorgione (1478-1510). At the foot of the lofty throne are SS. Liberale and Francis. 4) Madonna and 
Child with six Saints; Longinus, the centurion of the Crucifixion, Peter and Catherine to the left, and Mary Magdalene, Mark 
and Sebastian to the right. This picture, by Alvise Vivarini of Venice (w. 1461-1503), is in the Berlin Museum. 5) Enthroned 
Madonna and Child, with an angel and donor, by Hans Memlinc, in the Vienna Gallery. 


49 


The accepted classification of the Heavenly 
Hosts of St. Dionysius the Areopagite is into nine 
choirs, composed of three main groups, each com- 
prising three choirs, as follows: 


A) CounciLtors oF Gop, having no direct contact 
with Mankind. 

1) The Seraphim (from a Hebrew word mean- 
ing to burn), are the closest to God, and 
are shown as bodiless heads with six 
wings, the whole symbol colored a bril- 
liant scarlet. The wings should be 
sprinkled with staring eyes (see Tetra- 
morph, Plate VII). Later, the color of 
the Seraphim merged with that of the 
Cherubim, in order to form a more har- 
monious color scheme. 

2) The Cherubim (from a Hebrew word mean- 
ing a chariot) come next to the Seraphim, 
and should possess six or four blue wings. 
They are not necessarily bodiless like the 
first choir—though they frequently are 
so depicted—and in illuminated MSS. 
and stained glass windows they often 
stand upon a wheel, having reference to 
the origin of the name. 

3) The Thrones, who uphold the-Seat of God, 
should be depicted either holding a mini- 
ature throne in their hands, or a fiery 
wheel covered with eyes. In the former 
case they are dressed as deacons. 

These three choirs receive their glory 
directly from the Almighty, and transmit 
it to the next group. 


B) Governors, whose mission is to regulate the 
movement of the spheres. 

4) The Dominations, or Dominions, are shown 
with crowns, swords, and sceptres, or 
with an orb bearing a cross on it. 

5) The Virtues, in complete plate-armor, with 
battle-axe, or crown and sceptre. 

6) The Powers, who hold a scourge or a baton 
in their hands. 


C) MEssENGERS OF Gop, who protect the great 
monarchies on earth, and who transmit 
to Man the rulings of the Almighty. 

7) The Principalities, in a hauberk, or shirt of 
chain mail, and helmet, carrying a Iance, 
with a pennon with a cross of St. George. 
They sometimes only carry a lily. 





of that famous body, instituted as early as the seventh century 
before Christ, known as the Council of the Areopagus. In the 
year 51 A. D. Dionysius, with a large number of fellow-citizens 
of rank and learning, listened to those splendid impassioned 
words of St. Paul, recorded in Acts xv11:22-31, and became 
converted, eventually being appointed Bishop of Athens by 
the great Missionary Apostle. The Greeks state that he suf- 
fered martyrdom by being burnt alive at the stake. His day 
is Oct. 3rd. St. Denis of Paris, on the other hand, is celebrated 
Oct. oth. He was a missionary in Gaul, and suffered martyr- 
dom through decapitation, for which reason he is shown either 
holding his severed head in his hands, or holding another 
symbolic head on his Gospel. (See page 27.) 


50 





8) The Archangels, as warriors in full plate- 
armor, with shield and sword, always 
pointing upwards. 

9) The Angels, as deacons, in flowing white 
robes, with trumpets or other musical 
instruments, or bearing a lily. | 

These, however, are but the arbitrary lines laid 
down by St. Dionysius, and are but rarely adhered 
to in actual practice, except to a certain degree in 
very early works, in mosaic, where the whole com- 





THIS TINY CORONATION—FOR IT IS ONLY I7 X 10% INCHES— 

BY NICCOLO DI BUONACORSO, DISPLAYS A ROW OF CHERUBIM— 

OUTSIDE ROW—ABOVE SIX SERAPHIM, WHILE “THRONES” 

UPHOLD THE “FLOOR OF HEAVEN.’ BELOW ARE ANGELS OF 
THE NINTH CHOIR. 

(In the Collection of Mr. Philip Lehman) 


pany of Heaven, with the saints, is mtroduced, in 
such pictures as those of ‘‘ Paradise,” or the “Last 
Judgment,” or in a “Coronation of the Virgin.” In 
an interesting rendering of the last great theme, by 
Jacobello del Fiore (c. 1370-1439) in the Venice Ac- 
cademia, one can identify fairly distinctly the nine 
choirs, having the seven archangels grouped together 
in the upper left-hand corner, above SS. Peter and 
Paul. But, mn general, the only clearly-indicated 
choirs are the first two and the last two. 

Except in such occasional groups, only four of the 
seven Archangels, who should be clad in the full plate- 
armor of a knight of feudal times, are ever repre- 
sented in art, rarely more than three, and then they 
are never, with the exception of St. Michael, Prince 


REA E XVI THE SAINTS IN ART 














Top i.ft: Michelangelo’s Madonna of Bruges is one of the noblest versions of the subject in sculpture. Like the Sistine 
Madonna (figure top right), its great dignity is due to the vertical line of the face, which is found very rarely in art. Middle top: 
Correggio’s charming ‘‘ Madonna in Adoration,” with the arms extended in the ancient attitude of prayer, in the Uffizi Gallery. 
Lower centre: “Madonna of the Green Cushion,” by Andrea Solario (d. 1515), in the Louvre. Solario was of Leonardo’s Milanese 
school. Top right: Raphael’s masterpiece, the so-called “Sistine Madonna,” or “da San Sisto,”’ in the Dresden Gallery, of which 
the beauty caused Raphael to be called the ‘‘ Divine Painter.”’ It was painted for the Benedictines of Placentia, and ccntains 
besides the wonderful Madonna, images of Sixtus I[V—whence the name—and St. Barbara. Low left: Madonna and Child, by 
Jan van Eyck, in the Metropolitan Museum, where it is called ‘‘School of Van Eyck, probably Petrus Cristus.” Certainly not 
Peter Cristus, whose treatment of hair is characteristic. But it is almost as certainly by Van Eyck himself, and possesses all 
that master’s most typical technical mannerisms. It bears a very close resemblance to the Madonna in Antwerp. Low right: 
a lovely Madonna and Child. by Francesco Ubertini, called Bacchiacca (d. 1557). (By courtesy of the Ebrich Galleries.) 





451 


of the Heavenly Hosts, the Army of God, repre- 
sented in the armor that the Areopagite allotted to 
them when they are grouped together in collective 
pictures. 


“ANNUNCIATION, A PRINT BY MARTIN SCHONGAUER, THE 


GERMAN ENGRAVER. NOTE THAT THE ARCHANGEL GABRIEL 
BEARS A CROSS ON A WAND INSTEAD OF A LILY, WHICH IN THIS 
CASE IS SHOWN IN A VASE NEAR THE VIRGIN 

(Courtesy of Knoedler & Co.) 


The three archangels who appear in art are: 
Micua-EL, whose name means “Like unto God;” 
clad in shining armor—sometimes covered by a Iong 
robe, e. g., a picture by Van der Weyden (Plate IT) 
slaying a dragon, or driving Satan from Heaven, or, 
in devotional pictures, with his sword and lance, or 
with an orb, or again with a pair of scales in which 
to weigh the souls of those who aspire to a heavenly 
abode. But no matter how he is portrayed, he is 
unmistakable by his majestic dignity, his armor and 
his great splendid wings. He is the Prince-Patron 
of the Church Militant, and Captain General of the 
Celestial Hosts. GaAsrI-EL, one of the loveliest of 
figures m art, 1s the Angel of the Annunciation. His 
name means “God is my Strength.” He wears long 
white robes, and bears a lily, and generally a scroll 
bearing the mystic words “‘Ave Maria, gracie plena”’ 
(Hail, Mary, full of grace). He rarely appears except 
in this capacity, though he is seen with St. Michael, 
accompanying the Archangel Rapua-EL, who holds 
the youthful Tobias by the hand, in a picture in the 
Florence Academy, attributed generally to Verroc- 
chio, but really the work of his pupil, Botticini. 





52 


RaApHA-EL, meaning “Healer through God,”’ is the 
Guardian Angel, par excellence—all angels are ipse 
facto guardian angels—for it was he who conducted 
Tobias on his quest for the ten talents of silver that 
his father, Tobit, had given to Gabael in Media. 
Tobias is always shown as very young, holding the 
Archangel’s hand, and carrying a fish in the other. 
St. Raphael wears a long flowmg robe, with sandals 
and powerful wings. 

The other four archangels are: CHAMU-EL, “‘who 
seeth God,” believed by some theologians to be the 
angel of Gethsemane, though that honor is more 
generally ascribed to Gabriel; Joput-EL, “‘the Beauty 
of God,’ who drove Adam and Eve forth from the 
Garden of Eden; Urt-k1, “‘the Light of God,” who is 
Regent of the Sun, and was the master of Esdras; 
and finally ZApKI-EL, “Righteousness of God,” to 
whom is ascribed by some writers the holding of 
Abraham’s arm, when about to sacrifice his son, 
Isaac. Here again the Christian Church gives the 
credit to St. Michael. 

Uriel, mentioned above, is the fourth Archangel 
in art. Mrs. Jameson notes his inclusion in a 
series of anonymous prints, but states that none but 
the first three are to be found in any ecclesiastical 
pictures. 

An interesting introduction of an angel of the 
type regarded as of the Christian type is that 
illustrated on Plate XVIII of Marcantonio’s en- 
graving after a drawing by Raphael, entitled ““The 
Judgment of Paris.” 

In all early works, 1. e., up to the end of the 15th 
century, angels are distinguishable immediately by 
their wings. St. Vincent Ferraris is sometimes given 





ST. JOHN THE BAPTIST, ‘‘ENTHRONED’ SURROUNDED BY FOUR 

SAINTS, WHO, READING FROM LEFT TO RIGHT, ARE SS. FRANCIS 

OF ASSISI, JEROME, MICHAEL, AND ANTHONY OF PADUA. THIS 

FAMOUS PICTURE BY PERUGINO (PIETRO VANNUCCI) WHO LIVED 

FROM 1446-1523, IS IN THE LIBRARY OF HIS NATIVE CITY, 
PERUGIA. 


PLATE XVII THE SAINTS IN ART 















THE ARCH- 
ANGELS AND 
ANGELS OF 
ES NINTH 
CHOIR AS POR- 
TRAYED IN ARG 








































TaBPH 
yes 














h rm i 


| , : 























































































































































































































Top left: Kneeling angel with the candelabrum, attributed to Michelangelo. Middle left: Angel placing a Crown of 
Martyrdom on the head of St. Sebastian, in the celebrated picture by Il Sodoma (1477-1549) in the Uffizi. Low left: The 
Angel at the Sepulchre announces the Resurrection to the Three Women. Wall-painting by the great Sienese painter of 
the Proto-Renaissance, Duccio di Buoninsegna (worked 1279-1319), in Siena. Top centre: The Archangel Michael (left) 
and Gabriel, with two unidentified bishops, in attendance upon the Virgin and Child, in trono. Above, the Holy Trinity 
in a Circle (see page 34) adorned with Seraphim. This world-renowned picture by Luca Signorelli of Perugia (1441-1523) 
is in the Cathedral of his native city. Low centre: The Archangel Raphael presents the youthful Tobias to the Madonna 
and Child, in Raphael’s great ‘Madonna with the Fish”’ (del Pesce) in the Prado. The Saint at the right is called St. 
Jerome, the picture having been acquired for the Escurial in Madrid, belonging to the Jeronymites. It is very 
difficult, in such cases as this, to tell whether the saint is Jerome or Mark, with his Lion and Gospel. Upper right: The 
Archangel Michael weighing the souls of the Dead. A detail from Hans Memlinc’s famous picture known as the “‘Dantzig 
Last Judgment,” in the Church of St. Mary’s in that city. Note the plate-armor in which the Captain of the Heavenly 
Hosts is clad. (See page 52.) Also his crozier and the fantastic wings, terminating in a peacock’s tail-feathers.(!) Below: 
Two 12th-century depictions, in mosaic, of the Archangels Michael (top) and Gabriel, imbued with the heavy dignity 
characteristic of the early days of Christian art. Their names are inscribed in Greek letters by the side of their heads. 
These mosaics are in the Cappella Palatina at Palermo. 








wings, but as he was only canonized in 1455, this 
does not affect the accuracy of the first statement. 
Fra Bartolommeo does not give them to him, though 
the saint’s compatriot, Murillo, in the 17th century, 
does so. 

The treatment of angels in Christian art follows 
the steadfast rule of descent from the grand sim- 
plicity of the days of respectful wonder and research 


ANGELS IN THE GREAT ‘‘CORONATION OF THE VIRGIN” BY 
FRA ANGELICO IN THE UFFIZI GALLERY IN FLORENCE 


THE 


to the facile carelessness of purpose of the decadence 
and degradation. In the Ravenna mosaics, e. g., at 
St. Agatha’s Church, they are depicted as splendid 
lordly figures in long regal robes, bearing upon their 
faces an expression of true celestial majesty, and 
from then on till the time of Fra Angelico (1387-1455) 
sternness was the predominant feature of the angels 
proper. The artists of those primitive days in art 
were sincere, if naif, transmitters of their profound 
beliefs, and were too deeply imbued with the 
splendor of Heaven, as they saw it, to take liberties, 
and indulge in fantasy, or to attempt to bring the 
Messengers of God down to the level of human 
understanding. In their eyes the angels were always 
on their dignity. (Plate XVII.) 

Fra Angelico, the transition master, In more ways 
than one, gave perhaps a truer interpretation—some 
say the truest—by endowing his exquisite angelic 
figures with all the Iove he himself possessed for the 
Divine Trinity, and all those who dwelt in Paradise. 
And after I] Beato, Raphael and Luini came closest 





54 


to reproducing in human form the lovely angel idea, 
beings without sex, ethereal in attitude and expres- 
sion, floating in space without effort, as belonging to 
space, their own limitless territory. 

With these two exceptions, the angels became 
less and less celestial in appearance, providing in 
many cases a simple attribute to a picture of the 
Madonna, as in some of the Botticelli angels, of the 
earth earthy. And by the end of the 15th century, 
they had, artistically speaking, fallen as far as 
Lucifer from the high place they had once occupied. 
Even the Seraphim and Cherubim lost their tradi- 
tional expressions of adoration and contemplation, 
respectively, of the Almighty, and became simply 
joyous children with wings, more like pagan Cupids 
than the rmmediate recipients of the Divine Message. 
From the end of the 15th century, the roles of the 
angels, proper, became innumerable, from catching 
the sacred drops of ‘blood from the Wounds of Our 
Lord—an early motive—to performing personal ser- 
vices for the Virgin and Child, or holding aside the 
curtains of a canopy as in Raphael’s Madonna del 
Baldacchino in the Pitti Palace in Florence. (Plate 
XXVI.) 

Yet, when a great master depicted them, such 
masters as Michelangelo or Leonardo, they were able 
to present them in their more sophisticated manner, 
as magnificent as those simple figures, inaccurately 
drawn, by the artists of the earliest days of Christian 
art, without even giving them the special attributes 
of the Celestial Hosts, the angelic wings. 





TWO ANGELS ATTRIBUTED TO LEONARDO DA VINCI IN THE 
FAMOUS PICTURE OF “THE BAPTISM OF CHRIST” BY HIS MASTER, 
ANDREA VERROCCHIO 


PLATE XVIII 











THE SAINTS IN. ART 





SOME STYPICAL 
INTERPRETATIONS 
OPS THE ANGEL 
IDEA IN ART 





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Or e ‘ rec 


1) The Heavenly Choir, in Benozzo Gozzoli’s (1420-1497) great “Adoration of the Magi”’ in the Riccardi Palace 
in Florence. Note the inscription Gloria inExcelsis (see page 46(d)) on the haloes, and the “choir-leader,’’ naively intro- 
duced. 2) How incomparably more skilful is the portrayal of the heavenly choir in the ‘Adoration of the Lamb” altar- 
piece by the Van Eycks at Ghent. In technical skill this panel is perhaps the most perfect piece of painting extant, 
while it is by no means lacking in the reverential spirit appropriate to the subject. Its companion panel is the St. Cecilia, 
illustrated on page 104. 3) Jacobello del Fiore’s ‘Coronation of the Virgin,” described on pages 41, 43, 50, etc. The Seven 
Archangels can be seen to the left of the picture, at the top, with helmets and shields. The four Evangelists are in niches 
at the foot of the throne, but without their symbolic “‘beasts.’’ 4) One of Fra Angelico’s most popular pictures. An 
angelic music’an in the “‘Tabernacle”’ in the Uffizi, painted in 1443, for the Guild of Linen Merchants. 5) This picture 
by Raphael is out of place in a book devoted to the Saints in Art, for it depicts the pagan Homeric legend of the ““Judg- 
ment of Paris.”’ But we have included it in this page on account of the angel, bearing a palm (see page 29), depicted in 
exactly the same form as that which they appear in all religious pictures of the Renaissance. 6) A 16th-century Italian 
drawing of the Madonna conducted by two angels. The Madonna is crowned with roses. (From a drawing in the collec- 


tion of Mr. George Cotils.) 





535 





CHARTER: Vill 





OF THE EVANGELISTS AND APOSTLES 


Atter the Mother of Jesus Christ, the four Evan- 
gelists hold the first place in the hierarchy of the 
Saints, for they were the transcribers of the words 
and deeds of our Saviour, and their works formed 
the basis of the teachings of the militant apostles 
and disciples. Each gospel treats of Christ’s mission 
on earth in some special aspect, which inspired the 
symbols by which their authors are distinguished in 
art. The first emblematic representation of the 
Evangelists was more in the nature of an attribute 
than of a true symbol, for it took the form of Four 
Booxs placed in the angles of a Greek or Maltese 
cross (Plate XIX). From the 4th to the 7th Century, 
the treatment was purely symbolic, and used only 
in connection with the Saviour. He stands either as 
the Lamb of God or in human form upon a mound 
from which spring the Four Rivers WuicH FLow 
From ParapiseE(Plate XIX). In the 4th Century,also, 
another form of symbolism, illustrative in this case, 
was adopted from the Book of Ezekiel, repeated in the 
Revelation. It did not come into general use until 
the 6th Century, and although the relation between 
the emblem and the Evangelist to whom it referred 
has suffered at times certain modifications, it became 
standardised early in the Revival of Learning (13th 
Century) as follows: St. Matthew was represented by 
a WINGED CHERUB or ANGEL, the nearest celestial 
approach to the form of man, for the first of the 
Evangelists emphasises, through his gospel, the 
human side of our Lord. St. Mark’s emblem is a 
Lion, the king of beasts, for he stresses the regal 
aspect of the character of Christ, as King of the 
Jews. The lion is also symbolic of the Resurrection 
(see page 27) of which St. Mark has been called the 
historian. St. Luke’s symbol, an Ox, the beast of 
sacrifice, illustrates the fact that his gospel reveals 
the priestly character of the Son of God, while St. 
John was given the Eacte, emblematic of the soaring 
spiritual note of the scripture as set forth by the 
favorite apostle of Jesus Christ. 

The first use of this symbolism represented 
the “Four Beasts,” with six or four wings. 
Then in human form, but bearing the head of 
the emblematic creatures. Toward the middle of 
the 15th Century this archaic treatment, which 
fitted in well with the humoristic note of much of 
Romanesque and Gothic sculpture, gave place to a 
more rational representation in which the Evange- 
lists were depicted as human beings accompanied by 
their symbols (e. g., a fresco by Andrea del Sarto in 
San Salvi in Florence), though in a few rare pictures 
the beast is shown alone. Finally, inthe decadence of 
Italian art, the Evangelists appear without emblems, 
their place in the picture and their appearance deter- 
mining their identity. Partly on account of their 
convenient number, the emblems of the Evangelists 
have been employed for centuries at the four corners 


56 


of innumerable rectilinear forms to which their use 
was appropriate, such as Books of Hours, missals, 
bibles, caskets, and tombs. There is a handsome 
example of the Iast in the Metropolitan Museum of 
Art of New York, behind, and slightly to the right of, 
the model of Notre Dame Cathedral in the Archi- 
tecture Hall. 

It is hardly necessary to state that in historical 
pictures of the life of our Lord and that of His 
Mother, after the Passion, the apostle-Evangelists 
are depicted only with the other apostles and in their 
company. In such works, their emblems as Evan- 
gelists are generally absent, their place being taken 
by attributes, such as the instruments of their 
effectual or attempted martyrdoms, or some object 
having a bearing upon their lives. 

St. Matthew’s typical attribute is a long purse 
or bag, for, prior to the call of the Master, he was a 
collector of taxes. - St. Luke is frequently repre- 
sented with the implements of an artist. Apart 
from his special character as an Evangelist, St. John 
is generally portrayed holding in his hand a chalice 
from which is Issuing a serpent, illustrating the 
legend that upon a certain occasion he was forced 
to drink a cup of poisoned wine, which had no effect 
upon him. The poison (serpent) was withdrawn by 
the Divine Intervention. St. John is the most fre- 
quently depicted of all the Saints in Art. He was, 
I repeat, the favorite apostle of Our Lord. In 
pictures of the Last Supper he was—until Leonardo 
broke the tradition—almost universally drawn re- 
clining upon the breast of Jesus, as in the famous 
Ghirlandajo fresco in the Ognissanti Refectory in 
Florence. He is always present with the Virgin 
Mary in pictures of the- Crucifixion. He holds a 
chalice. In the Stabat Mater he stands on the right 
of the picture (left of the Cross) and in Pieta, 
again, he is rarely absent. St. John is usually por- 
trayed, in the loose flowing garments common to all 
the apostles, as a beautiful youth, but occasionally 
he appears as a very old man with a long white beard, 
—he died at the ripe old age of 99 years—as in the 
Botticelli Madonna in the Berlm Museum (p. 65). 
His robes and the chalice in his hand or a book will 
always identify him in such cases. There are also a 
number of pictures representing the futile attempt 
of the Emperor Domitian to destroy the young fol- 
lower of Christ by boiling him alive in a cauldron of 
oil outside the Latin gate of Rome. A canvas by the 
Flemish painter, Quentin Matsys, now in the Ant- 
werp Museum, is characteristically gruesome in its 
detail. St. John founded the seven churches—sym- 
bolised by the seven-branched candlestick—in Asia 
Mior: at Ephesus, his particular charge, Smyrna, 
Pergamos, Thyatira, Sardis, Philadelphia and Lao- 
dicea. (See Plate XIX.) 

The “‘ Four Beasts” of the Evangelists have ever 
been the cause of controversy as to their significance. 
The Hebrew Doctors treated these figments of the 
brain of Ezekiel as symbolic, first of the four Arch- 


PLATE XIX THE SAINTS IN ART 








yferati, 
tifto.s f 














oy - 

















Upper left: the first symbolic representation of the Evangelists, as four Gospels, each in a nimbus, and in the four angles of 
a Greek cross. Beneath: Our Lcrd as the Lamb of God, standing upon a mound from which issue the Four Rivers (Evangelists) 
which flow from Paradise. Top centre: The “Vision of Ezekiel,’ in which the Four Beasts are mentioned for the first time. 
From a picture by a painter of the school of Raphael. Here the Almighty is shown surrounded and supported by the Four. 
It is in the Pitti Palace. Top right: curious woodcut from Legenda Aurea, “The Golden Legend,” by Jacobus de Voragine, 
published at Ulm in 1478. Note the Evangelists in the top corners, above the Madonna and St. Blasius (left). Beneath the 
large inscription are the Four Latin Doctors, St. John Chrysostom, and other saints, each with his name inscribed on a scroll. 
Low left: Vision of St. John the Divine, from a woodcut by Diirer, illustrating an old book on the Apocalypse published in Venice 
in 1605. Note the Seven Candlesticks, the Seven Stars, and the Square on a Circle, upon which the Saviour is standing. Low 
right: Christ, with his hand raised in benedicticn, surrounded by the Four Evangelists, who are here shown without other emblems 
than their gospels. By Fra Bartolommeo in the Pitti Palace. 


57 


angels, Michael, Raphael, Gabriel and Uriel, and, 
later, of the Prophets, Isaiah, Jeremiah, Ezekiel 
himself and Daniel. Rupertus, a famous commen- 
tator of the Book of Revelation, interprets them 
mystically as the Incarnation, the Passion, the 
Resurrection and the Ascension. Their position in 
relation to each other had also to be decided by the 
scholiasts of medieval days. Thus Durandus, who 
was the first to give the significance later identified 
with Rupertus, to the Apocalyptic “Beasts,” places 
the Angel and Lion on the right of the Throne of 
Heaven, with the Ox and the Eagle, the latter in the 
upper station, on the left. This ts the arrangement 
in the picture of the “Vision of Ezekiel,” in the Pitti 





TWO INTERPRETATIONS OF THE FOUR EVANGELISTS, REPRE- 
SENTED BY THEIR SYMBOLS. THEY SURROUND THE SEPULCHRE 
AT THE SIDES OF WHICH ARE A LAMB AND A LION, SYMBOLIZING 
THE COMPASSIONATE AS WELL AS THE REGAL ASPECT OF OUR 
LORD’S CHARACTER (FROM A NINTH-CENTURY BIBLE IN THE 
BRITISH MUSEUM, ADD. NOS. 10546) 

Palace in Florence, formerly attributed to Raphael, 
but now known to be the work of his pupils. 

The most probable origin of this strange sym- 
bolism is to be found in the carved figures of Nineveh 
and Persepolis, the former in the British Museum, 
the latter at the Louvre in Paris. 

Two interesting examples of the use of these 
symbols are to be found on a page of a gth-century 
Bible in the British Museum (see above), the 
upper half displaying an open tomb flanked by the 
emblematic Lamb and Lion of the Saviour himself, 
with the Evangelists’ symbols, as head and winged 
shoulders of the ‘‘Beasts,’’ in each corner. Below, 
Our Lord ts seated upon a throne holding a scarf in 
an arch above His head, while a winged Lion and Ox, 
turned toward Him, are placed to His right and left 


58 


respectively. The Eagle is perched upon the summit 
of the arch of the scarf, and the Angel in front of 
Christ stands pointing upwards at the emblem of 
St. John. 

In the great “Coronation” altar-piece by Gio- 
vanni d’Alemagna and Antonio Vivarini in the 
Venice Academy, the Evangelists are seated at the 
foot of the throne, St. John—as an old man—and 
St. Mark on the left (of the picture) facing St. Mat- 
thew and St. Luke on the right. Each is accom- 
panied by his emblem, at his feet, while all except 
St. Luke hold open gospels. The last-named has a 
closed book surmounted by a Gothic picture frame 
upon his knee, one of the rare examples of the use of 
his attribute as an apostle when depicted in his char- 
acter as an Evangelist. This refers to an old legend 
or tradition that St. Luke was an artist and actually 
painted the portrait of the Blessed Virgin, in conse- 
quence of which this gentle apostle became the 
patron saint of the leeches (barber-surgeons) and 
painters, who both belonged to the same guild! This 
tradition is frequently found represented in art, par- 
ticularly mn pictures of the Flemish, early Dutch, and 
German schools. 

* * * 

The ApostLes are depicted in Art in various ways 
and groupings, but whatever the personal composi- 
tion of the group may be, there are never more than 
twelve present. In very early works, such as the 
mosaic in the Church of SS. Cosmo and Damian in 
Rome (Plate I, Fig. 12), they are represented sym- 
bolically as Lambs, six issuing from Jerusalem on 
one side of Our Lord, as the Lamb of God, the others 
coming toward Him from Bethlehem on the other. 
In San Clemente in Rome, the great crucifix at the 
east end bears twelve doves, typifying the chosen 
companions of Christ on earth. 

When they came to be represented as elderly men 
—all save St. John—they were at first aligned six 
upon each side of the Master, but later they were 
portrayed as a group around Him. When the 
Apostles are represented thus together they bear 
attributes having some reference to their life or 
martyrdom, or with scrolls in their hands or both. 
The scrolls refer to the tradition that each of the 
Twelve wrote a phrase of the so-called Apostles’ 
Creed, as follows: St. Peter: I believe in God the 
Father Almighty, maker of Heaven and Earth; St. 
Andrew: And in Jesus Christ, His only Son, Our 
Lord; St. James Major: Who was conceived by the 
Holy Ghost and born of the Virgin Mary; St. John: 
Suffered under Pontius Pilate, was crucified, dead, and 
buried; St. Philip: He descended into Hell; On the 
third day He rose again from the dead; St. James 
Minor: Ascended unto Heaven and sat on the right 
band of God the Father Almighty; St. Thomas: 
Whence He came to judge the quick and the dead; St. 
Bartholomew: I believe in the Holy Ghost; St. Mat- 
thew: In the Holy Catholic Church; the Communion of 
Saints; St. Simon: The forgiveness of sins; St. Mat- 


thias: The resurrection of the body; St. Thaddeus: 
And the Life Everlasting. 

All of the Apostles, save St. John, are believed 
to have died a martyr’s death. 

St. Peter, Prince of the Apostles, and first Bishop 
of Rome, was crucified head downward, during the 
Neronian persecution. His usual attributes in devo- 
tional pictures are two keys, one of gold and one of 
iron, opening respectively the gates of Heaven and 
Hell. Sometimes St. Peter wears the papal tiara and 
robes as in the famous Crivelli altarpiece in the 
Brera at Milan, from which his figure has been repro- 
duced on Plate XX. The key attributes were only 
adopted in the eighth century. St. Peter’s day is 
June 29th. 

St. Andrew, the brother of Stmon called Peter 
(St. Peter), was also crucified, the legend being that 
he was hung upon an X-shaped cross. This, however, 
has never been proved (see page 21). Nevertheless, 
it has remained as his attribute in the vast majority 
of cases. He is the patron of Scotland where his 
remains were brought in the fifth century, as well 
as of the Orders of the Golden Fleece of ancient 
Burgundy and of St. Andrew of Russia. St. An- 
drew’s day is November 30. 

St. James Major, the son of Zebedee and brother 
of St. John the Evangelist, was beheaded at Jeru- 
salem, fourteen years after the death of Christ. His 
attribute is a pilgrim’s staff. He is the Patron Saint 
of Spain, “‘Sant ’Iago”’ or Santiago, and the favorite 
patron of that country. In the year 800 his remains 
were removed by his disciples to Compostella, where 
one of the most famous shrines in the world was 
built to recetve them. He is frequently called St. 
James of Compostella. His day is July 25. 

St. Philip was stoned and crucified against a pillar 
at Hieropolis in Phrygia. He carries a T(au) Cross 
as an attribute, or a small cross on a staff or crozier. 
His day and that of St. James the Less is May Ist. 

St. James the Less (or Minor), called ‘‘the 
Brother of Our Lord,”’ was flung from the temple of 
Jerusalem and then beaten to death with a fuller’s 
club, with which he is always depicted. He was the 
first Bishop of Jerusalem. 

St. Thomas, called also Didymus, the Twin, was 
the Apostle of the Indies and Persia. He was mar- 
tyred at Meliapore on the Coromandel coast of India 
by the Brahmin priests who stoned him and then 
pierced him with a lance. His attribute is a builder’s 
square, through a quaint legend connected with King 
Gondoforus of the Indies. He is the patron of 
architects and builders. (Dec. 21.) 

St. Bartholomew was flayed alive at Albanopolis 
in Armenia. In the Last Judgment by Michelangelo 
in the Sistine Chapel this apostle is in the foreground 
holding his skin im his hand. His attribute is a large 
knife. His day is August 24th. 

St. Matthew was a Jewish tax collector for the 
Romans, a thoroughly despised calling, but after his 
conversion he went forth into Egypt and Ethiopia 


59 


to preach his gospel, which he wrote to satisfy 
his fellow converts in Palestine. Venantius Fortu- 
natus states that he suffered martyrdom by the 
sword at Nadgar in Ethiopia in the goth year of the 
new Christian era. His remains were brought west 
and interred at Salerno, in a church named after him 
by Pope Gregory VII in 1080 A. D. The attribute of 
St. Matthew is a purse or money-bag, and his day, 
September 21st. 





ST. SIMON ZELOTES, THE APOSTLE, WITH A SAW, THE SUPPOSED 
INSTRUMENT OF HIS MARTYRDOM, FROM A DRAWING BY THE 
I5TH-CENTURY GERMAN ARTIST, HANS BALDUNG GRUEN 


St. Simon, or Simon the Zealot, preached the 
gospel with Christ’s kinsman, St. Jude or Thaddeus, 
in Syria and Mesopotamia. They were both put to 
death in Persia, St. Simon being sawn asunder, while 
St. Thaddeus was stricken down with a halberd. 
These objects are their respective attributes. Their 
feast 1s celebrated on October 28th. 

St. Matthias was the last of the Apostles, who 
according to St. Clement of Alexandria, was chosen 
by lot out of the seventy-two disciples, in place 
of Judas. He was put to death in Ethiopia or in 
Judea, at the hands of the Jews, either with a spear or 
an axe. In German pictures, St. Matthias is usually 
represented with an axe, while in Italian works, his 
attribute is a spear or lance. His day is Feb. 24th. 

Judas Iscariot is generally shown in a dirty yellow 
garment, and in early representations of the Last 
Supper, even up to that of Domenico Ghirlandajo 
(1480) in the Ognissanti in Florence, he appears, 
isolated from the group of the faithful apostles, by 
being seated on the other side of the table. Leonardo 


da Vinci broke this tradition and placed Judas 
amidst his fellow disciples, but with consummate 
mastery he still succeeded in isolating the traitor by 
turning his face away from the light and so throwing 
it into strong shadow, the only one of the holy com- 
pany whose visage is not fully illuminated. Judas 
hanged himself. Leonardo also abandoned the tra- 
ditional pose of St. 
John lying asleep 
(according to later 
tradition) upon the 
breast of his be- 
loved Master. In 
Leonardo’s great 
fresco, St. John 
forms part of the 
group of three, com- 
prising St. Peter 
holdinga knifein his 
right hand, Judas 
Iscariot holding a 
bag of silver, and 
St. John, with in- 
tertwined fingers, 
asleep and leaning 
toward St. Peter, who is excitedly poiting at the 
Saviour. 

Now in addition to the twelve Apostles properly 
speaking, there are five other contemporaries of Our 
Lord who take the places of some of the true Apostles 
in many works of art, viz.: SS. Paul, Mark, Luke, 
_ Barnabas and John the Baptist. But the more im- 
portant of His original followers always remain 
aa Peter, Andrew, James Major, Philip, Mat- 





THE TRADITIONAL EARLY RENDERING OF THE “LAST SUPPER, WITH A TABLE 
TURNED BACK AT THE ENDS, JUDAS BY HIMSELF OPPOSITE CHRIST, AND ST. JOHN 
LYING AGAINST HIM DOZING. 

From the picture by Domenico Ghirlandajo in the Ognissanti Refectory in Florence. 


thew, John, Thomas and Bartholomew. St. Simon 
and Matthias, however, sometimes give place to SS. 
Mark and Luke; St. Jude (Thaddeus), to St. Paul. 
When St. Paul is represented with the Apostles he 
carries invariably one or two swords, one pointing 
upwards, the other down (Plate XX). Another is 
sometimes classed as an Apostle, who has no real 
claim to the title. I 
refer of course to St. 
Barnabas, the com- 
panion of St. Paul at 
Lystria and Anti- 
och. St. Paul and 
Barnabasseparated 
owing to a differ- 
ence concerning St. 
Mark, the kinsman 
of the latter, after 
which Barnabas 
preached in Italy 
and the Near East. 
It is said that he 
was the first Bishop 
of Milan, after- 
wards thesee of that 
great Father of the Church, St. Ambrose. Barnabas 
was stoned to death by the Jews at Salamis. He is 
generally shown with St. Paul, and carrying in his 
bosom the original copy of the Gospel of St. Matthew 
from which he is said to have preached. June 11th 
is St. Barnabas’ day. 

The two chief Apostles in Art are St. Peter and 
St. Paul, who are almost always depicted together, 


for they represent the two churches, St. Peter that 


























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ian 











































































































































































































































































































Denies 




























































































































































































































































































































































































LEONARDO DA VINCI’S FAMOUS “‘LAST SUPPER”’ IN THE REFECTORY OF SANTA MARIA DELLE GRAZIE (St. Mary of the Graces) AT MILAN. 

IT WILL BE OBSERVED THAT BY PLACING OUR LORD IN THE “FRAME OF THE DOORWAY,” HE IS MORE CENTRALIZED THAN IN THE PICTURE 

ABOVE. NOTE ALSO THAT ST. JOHN ON HIS RIGHT HAND (left in the picture) LEANS AWAY FROM HIM INSTEAD OF LYING ON THE BOSOM 

OF JESUS AS IT WAS THE TRADITION TO DEPICT THE YOUTHFUL EVANGELIST IN EARLIER PICTURES. JUDAS IS THE THIRD OF THE SIX 

FIGURES TO THE RIGHT OF OUR LORD. HIS FACE IS IN SHADOW TO DISTINGUISH HIM FROM THE FAITHFUL APOSTLES, AND HE 
HOLDS A MONEY-BAG IN HIS RIGHT HAND. 


of the Jews, St. Paul that of the Gentiles. They 
appear one on either side of the Madonna in trono, 
or of the Saviour, and although they do not invari- 
ably bear their typical attributes, there can be no 
mistaking either of them in works of art produced 
up to the end of the 16th century. Like all the 
Apostles, they are always clad in classical robes 
(see Plate XX), with loose flowing folds, which imme- 
diately places them in this group irrespectively of 
attributes or symbols. St. Peter is depicted as a 
powerful elderly man with white hair and a short 


and Pythagoras. In Michelangelo’s Last Judgment 
in the Sistine Chapel of the Vatican, the Apostles, as 
great undraped figures, are grouped around the cen- 
tral figures of Christ the Judge and His Mother. St. 
Andrew, with his cross, is on the immediate left (as 
one looks at the picture) of the Divine group, his 
back turned to the spectator, with a colossal figure 
of St. Paul, his eyes intent upon the upraised hand 
of the Master, next to him. On the left, in the same 
relative positions, are St. John, as always, young and 
beautiful, kneelmg in adoration and love, and the 





THE “LAST JUDGMENT” BY MICHELANGELO, IN THE SISTINE CHAPEL OF THE VATICAN. THE FIGURES IN THE 
FOREGROUND, READING FROM LEFT TO RIGHT, ARE: ST. PAUL, ST. ANDREW, THE VIRGIN MARY, JESUS CHRIST, ST. 


JOHN AND ST. PETER. 


IN FRONT ARE ST. LAWRENCE WITH HIS GRIDIRON, AND, ST. BARTHOLOMEW WITH A LARGE 


KNIFE IN HIS RIGHT, AND HIS OWN SKIN IN HIS LEFT, HAND. 


curly beard. His correct dress is a blue or green tunic 
with yellow mantle. St. Paul appears to us as a man 
in the prime of life, with a high forehead, piercing 
eyes, a hooked nose and a Jong, pointed, dark brown 
beard. He wears a blue tunic with a white mantle. 
St. Augustine resembles St. Paul in many respects, 
but the great “Doctor”? wears a bishop’s mitre 
and cope which distinguish him from the Mis- 
sionary Apostle. It is quite likely that these two 
types descend directly from actual portraits made 
contemporaneously. We know that such did exist, 
for in the case of St. Peter, the best known descrip- 
tion, that of Nicephorus, is obviously drawn from 
some representation before his eyes, while in the case 
of St. Paul, there was a Roman Iady named Marcel- 
lina who kept among her Lares (household gods) 
images of Our Lord and St. Paul with those of Homer 


61 


grand figure of St. Peter holding a key. Behind him 
one can distinguish St. Philip with his T(au) cross. 
Seated upon boulders in front, at the feet of Jesus, 
are St. Lawrence, the early martyr, with his gridiron, 
and St. Bartholomew holding his own skin. 
Although St. Paul was not one of the original 
Apostles, being only called after the Ascension, he 
stands with St. Peter, as the most important and 
popular of them all. He was originally a Roman 
soldier who was present at, and even concurred in, 
the martyrdom of St. Stephen. In the Acts of the 
Apostles (v11:58) It is stated that “the witnesses 
laid down their clothes at a young man’s feet, whose 
name was Saul.”’ Before his conversion he was very 
bitter against the exponents of the new faith: “And 
Saul yet breathing out threatenings and slaughter 
against the disciples of the Lord . . . went to the 


High Priest for permission to go to Damascus and 
bring bound to Jerusalem all those who had already 
embraced Christianity. As he was journeying thither 
he was called by a voice from Heaven ‘Saul, Saul, 
why persecuteth thou me?’”’ (Acts 1x:1-4), and he 
went into Damascus so impressed by the miracle 
that, blmded for three days by the light that had 
enveloped him at the time the Voice had appeared 
to him, for the same three days he neither ate 
nor drank. And so when Ananias of Damascus went 
reluctantly at the Divine bidding to call Saul to the 
fold, the great preacher-to-be was ready. He is first 
named as Paul: “Saul, who is also called Paul” in 
Acts xu11:9. The conversion of St. Paul and _ his 
previous life have been made the subject of innum- 





ST. JAMES MAJOR (SANT’ IAGO), THE APOSTLE, AS A PILGRIM 
WITH HIS STAFF AND WALLET, PREACHING TO THE PEOPLE. 
FROM A PICTURE BY NOEL COYPEL. 

(Courtesy of Wildenstein er Co.) 


erable pictures. The sword was given him as a 
symbol or attribute (see Plate XX) no earlier than 
the 11th century, three centuries after the keys 
became the traditional attribute of his companion, 
Ste Peter: 

St. James the Great is frequently represented as 
a pilgrim with staff and wallet, as in a fine picture by 
the 18th Century French painter, Noél Coypel, of 
St. James preaching, a stately, noble, figure in long 
flowing robes. As the patron saint of Spain and 
conqueror of the Moorish infidels at the battle of 
the Clavijo or Alveida Plains, he is usually garbed 
as a pilgrim mounted on a snow-white charger, and 
holding aloft a banner. Occasionally, in his capacity 


62 


as a warrior of Christ, he is depicted naively in full 
armor—as though he, any more than St. Michael 
and other armored angels, needed that terrestrial 
protective harness—his heels armed with the golden 
spurs of a knight, and with a casque with flowing 
plumes upon his head. 

St. James the Less is represented as resembling 


closely his kinsman, Jesus—his mother, Mary Cleo-) 


phas, being the sister of the Virgin Mary—and the 


tradition is that Judas agreed.with the Jews to kiss 
his Master’s cheek, when the Roman soldiers. arrived ' 


to take Jesus prisoner, in order that they might not 
mistake St. James for Our Lord. St. James Major 
likewise bears a strong likeness to Christ, of whom 
he also was a cousin, Mary Salome being another 
step-sister of the Madonna.* 


St. Philip is generally portrayed in the prime of 


life and beardless, or with only a slight beard. 

Save for the Crucifixion, no incident of Christ’s 
Mission on Earth has so deep a significance as the 
Lord’s Supper, or the Last Supper, as it is usually 
called in English. The French and Italian terms— 
of importance to visitors to European galleries—are 
“La Céne” and “La Cenacola,” respectively. This 
great subject can be treated, indeed by some great 
artist-mystics, such as Giotto and Fra Angelico, has 
been treated, in two different ways, firstly as an his- 
torical event, in the course of which occurs the 
dramatic incident of the denunciation of the traitor, 
in which case it signifies simply the Passover meal: 
““Now the first day of unleavened bread, the dis- 
ciples came to Jesus, saying unto Him: Where wilt 
Thou that we prepare for Thee to eat the pass- 
over?” (Matthew xxv1:22); secondly, as the mystic 
institution of the Eucharist, after the pointing out 
of Judas as the traitor: “And as they did eat, Jesus 
took bread and blessed and brake it, and gave it to 
them and said: Take, eat; this is my body. And He 
took the cup, and when He had given thanks, He 
gave it to them and they all drank of it. And He 
said unto them: This is my blood of the new testa- 
ment, which is shed for many.” (Mark x1v:22.) 
In the gospels of the first two evangelists, the denun- 


ciation’ of Judas precedes the mstitution of the > 
Eucharist; St. Luke places it immediately after, ° 
while St. John refers neither to the Passover supper | 
nor to the Eucharist. St. Mark andiSt. Luke, not 
being Apostles, ‘were, of course, not present at the 
Cenacola, the twelve being Matthew, Andrew, James | 
Major and Minor, both bearing the ‘traditional — 


resemblance to the Master, John, ‘always’ next ‘to: 


Jesus, usually on His left leaning upon’ His bosom, ° 


Philip and Thomas, both as young men, Peter, old 








*St. Anna, the Mother of Mary, was married twice before 
she espoused Joachim, the father of the Blessed Virgin, the 


first time to Cleophas, by whom she bore Mary, the wife of | 


Alpheus, and mother of St. James the Less, Thaddeus and 
Joseph Justus; the second to Salome, by whom she bore 
another Mary who married Zebedee, a wealthy merchant of 
Galilee, and whose children were St. James Major and St. 
John the Evangelist. 


THE SAINTS IN ART Pye ISIE NO 


FIVE OF THE MORE 
IMPORTANT APOSTLES 
































THIS DRAWING 
OF ST.PAUL | 
ISAFTERA 
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MOSAIC OF 


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ST. PAUL ,ASAMILITANT PROS- it) N 
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BEARS A SWORD INA STRIK- JY 
a CTA | \ 
ey ae SUCH PICTURESIE 
1S SYMBOLIC OF |B 






































ST ANDREW 1S ALWAYS (Counties, of rd HISEARNEST [aA OR 17 & 
RECOGNISABLE BYTHE = SaLoSeumoy SEG) FIGHT FOR THERE RY "| 
TRANSVERSE CROSS UPON Rell Sian er DOCTRINES o Ro Yy 
WHICH HE IS BELIEVED To AF THE "MASTER: é 
HAVE SUFFERED MARTYRDOM. REY eee ve 
HE, LIKEALL THE APOSTLES. ALSO 1 ON ey ae yt ST. PAUL. THE APOSTLE ."RaPHacL 
re plied Nessa WHEN ST.PAUL IS DEPICTED WITH 
repli ie a THE POINT OF HIS SWORD DOWN, 
1 @QDE TIS NO LONGER A SYMBOL. IT 
i ISAN ATTRIBUTE. AS THE INST- 
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bby)” SHOWS HIP AS| if) AS GOSPEL, HE {S$ 
fle SST we BEARING, AS & 
THE HEAD OF AS & 
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ERY Tue pari nian be2 | OR LETTER Te ae 
Za iINQN © tHe pacuiumd MT SY THE EPHESIANS Sag 
3 T S FN 
my ik Ee eh i ea i ST. JOHN THE EVAN- 
: ROBES etc.ARE I | GELIST HERE APPEARS 
| THEREEORE WITH BOTH SYMBtjer7 
BUTES. AND ATTRIB es (%¢ 
“ne Rerre Two THE EAGLE $G0SPE 
AS AN APOSLE,ASDIS- KEYS.ARE. ARE. OF THE FORMER & 





TINCT FROM HISFAMEAS EMBLEMS AD- 
AN EVANGELIST, ST. OPTED ONLY INN 
MATIHEW.BEARS AS THE EIGHTH Cy. PEND SSUGCE TH ecw 
HIS ATTRIBUTE,A PURSE, 

ACULOUS HARMNLESSNESS OF TK 
ROR ATE Delonte ints POISONED DRAUGHT HE WAS MADE 
DC CUPATION AS FUTANSABLLERER: TO DRINK BY THE EMPEROR DIOCLETIAN 


CLASS, WHILE THE 
CUP WITH THE SER- 
PENT ISSUING FORTH 





63 


with a curly short white beard, Bartholomew, 
Simon, Thaddeus (Jude) and Judas Iscariot. 

It is the event of the Last Supper at the moment 
of the denunciation that is most commonly repre- 
sented, for its inherent dramatic qualities could not 
help but appeal to the artists of old. The surprise, 
the questioning looks, the anger at the possibility of 
such unbelievable treachery, are all portrayed with 
a greater or less degree of emotion and dramatic 
vigor according to the mentality and _ technical 
powers of the artist. Giotto painted for the Refec- 
tory of the convent of Santa Croce in Florence, the 
first representation in Western Art, of the event of 
the Lord’s Supper, and has chosen the actual 
moment of the denunciation when Christ is saying: 
“He that dippeth his hand with Me in the dish, that 
same shall betray Me.” As it was necessary for this 
picturization for Judas to be close to Our Lord, and 
as it would have appeared offensive to the pious of 
early days to give the traitor precedence over the 
faithful apostles, Giotto placed him opposite the 
Saviour, alone on the near side of the table, a com- 
position which remained as a model until Leonardo’s 
infraction of the traditional rule, previously referred 
to. Again, as many, if not the majority, of the 
representations of the Last Supper were painted for 
refectories In monastic institutions, the scene was 
painted upon the wall running at right angles to the 
lines of tables on the floor, and as one long table on 
the far side of which Our Lord and the Twelve, with 
the exception of Judas, are seated, so that when the 
monks or nuns were at their meals, the effect was 
created of a “‘head-table”’ from which Our Lord and 
His immediate disciples presided over the company. 
Occasionally again, this great scene, at which the 
mystic foundation of the Christian religion was laid, 
is depicted shortly after the denunciation, and shows 
Judas preparing, or attempting, to escape from the 
room. In some pictures, Judas appears to be trying 
to hide the purse in his hand as though It contained 
the ‘thirty pieces of silver” only, whereas there was 
no need of concealment, for the traitor was officially 
the steward or custodian of the funds of the holy 
company. 

Fra Angelico, in his series depicting the Life of 
Christ, in the Florence Academy, has painted two 
scenes, one of the Passover supper, the other of the 
Institution of the Eucharist. The first adheres to the 
general rules as described above, with all its move- 
ment and dramatic tenseness; the other is quite 
evidently devotional. Christ and His followers have 
all risen from the table; the Apostles are kneeling, 
while the Saviour presents the Host to St. John. 
Judas kneeling behind Our Lord seems to be watch- 
ing for an opportunity to slip out of an open door 
nearby. Thus again is the traitor cleverly set apart 
from his fellows. 

In a remarkably devout picture by the early 
Fleming, Dirk Bouts, formerly in the Church of St. 

Peter in the martyred city of Louvain, the Saviour 





and His followers are grouped around a square table, 
four with Our Lord at the head facing the spectator, 
two at the foot with their backs turned, one of whom 
is quite evidently Judas, the other most probably 
Thomas, a youngish man with a beard; and three on 
each side. Two servants are in the room and two 
more look through a serving aperture in the wall. 
Bouts has chosen for his subject the moment when 
Christ holding the wafer in His hand is making His 
momentous announcement of the significance of the 


THE LORD'S SUPPER BY THE I5TH-CENTURY FLEMISH PAINTER, 

DIRK BOUTS, IN THE NOW DESTROYED TOWN HALL OF LOUVAIN. 

JUDAS IS SEEN ON THE LEFT OF THE PAIR AT THE NEAR END 
OF THE TABLE 


Bread and Wine. The scene is Jaid in a Gothic hall, 
with a tesselated pavement and contemporary fur- 
niture. 

Justus of Ghent has depicted the ceremony of 
the Eucharist in a picture now in the Urbino Gallery, 
in which in addition to the Apostles there are a 
number of spectators who are not kneeling. Among 
them one can recognize the patron of the painter, 
Duke Federigo da Montefeltro, ruler of Urbino, 
in profile, from the famous portrait by Piero della 
Francesca, in the Uffizi Gallery in Florence. Here all 
are kneeling before the Master who is placing the 
Host in the mouth of one of them. Judas, richly 
dressed and coiffed with a turban, looks contempt- 
uously upon the devout group and Is moving toward 
the door. And it is the Duke of Urbino who pushes 
the traitor back with his outstretched hand! A 
characteristic bit of Flemish painting with its very 
“every-day” interpretations of even the most mystic 
and elevated events. 


CHAPTER VII 


Sr. JOHN THE BapTisT AND Mary MAGDALENE 


I have brought together in one chapter these two 
saints of widely different character and significance 
for no other reason than that they are, outside the 
group of the Evangelists and Apostles, the two out- 
standing saints contemporary with the life of Our 
Lord. 

St. John the Baptist is celebrated throughout 
Christendom as the patron of all who have been 
baptised, and, in art, holds a particularly important 
place both as patron of the cradle of the Renaissance, 
Florence, and as a witness to the divinity of Christ, 
which reasons account for his appearance in so 
many pictures of the Madonna and Child and of 
Holy Families in galleries all over the world. He is 
the only saint whose birthday (June 24th) is cele- 





ST. JOHN THE BAPTIST AS A YOUTH IN THE DESERT, THE FAMOUS 
PICTURE BY ANDREA DEL SARTO, IN THE PITTI PALACE IN 
FLORENCE 


brated as a Feast-day, like those of Our Lord and 
His Mother. AII other Saints are remembered on 
the day of their death. 

The representation of St. John the Baptist in art 
is practically constant, although in quite late works 
and occasionally in Spanish paintings, he is garbed 
with a richness which is ill-suited to his character 
and mission, and can only be attributed to the exces- 
sive extent to which hero-worship of the Saints was 
carried in the Iberian peninsula. 

His correct dress, whether as a child, as he 
appears in so many lovely Madonna pictures by 
Raphael and the Umbrians, or as a man, Is a camel- 
hair tunic, very short, with another garment thrown 


over It as a cloak. It is this cloak which in late 
pictures is painted as a richly embroidered mantle. 
The camel’s-hair tunic is always there. He ts drawn 
as tall and emaciated, sometimes with, sometimes 





THIS FINE BOTTICELLI MADONNA in trono SHOWS ST. JOHN THE 
BAPTIST WITH A SLIGHT BEARD, AND ST. JOHN THE EVANGELIST 
—EXCEPTIONALLY—AS AN OLD MAN (SEE PAGE 46(d)) 


without, a beard, even by the same artist, as in the 
case of two great Enthroned Madonna pictures by 
Botticelli, one in the Berlin Museum, the other at the 
Florence Academy. Titian, who of course comes 
Iate-m the history of Italian art (1477-1576), has 
painted the Fore-runner as a man of splendid 
physique, and powerful, handsome features, almost 
nude, a magnificent picture and probably more like 
the subject’s real type than the more ascetic mystical 
representation of the earlier artists. St. John the 
Baptist as the Fore-runner, is, so to speak, the Ink 
between the Old and the New Testament, the last 
Prophet of the former, the first. Saint of the latter. 
It was his mother, the elderly Elisabeth, wife of 
priest Zacharias, still older than herself, who was 
exalted to a miraculous motherhood, that her son 
who was to be called John, might “make ready a 
people prepared for the Lord,” and who first recog- 
nised the divimity of Christ. Mary having been 
informed by the Archangel Gabriel, of her glorious 
destiny, learnt from the same divine messenger that 
her kinswoman, Elisabeth, had also ‘“‘concetved a 
son in her old age”’ (Luke 1: 36). So she ‘“‘ went into 
the hill country with haste... and entered the house 
of Zacharias and saluted Elisabeth. . . . And she 
(Elisabeth) spake out with a loud voice . . . and said 
whence is this to me that the Mother of my Lord 
should come to me’”’(Luke 1: 39-43). It was then that 
Mary said “‘My soul doth magnify the Lord,” that 
ringing Magnificat which is the shining light of all arts: 
painting, poetry and music, the great cry of exulta- 
tion that she, this lowly girl, was to give to the wait- 


PLACER XOX] THE SAINTS IN ART 











DIFFERENT ASPECTS 
OResS Ta e|OHN Zhe 

BAPTIST AS SEEN BY 
THE GREAT MASTERS 





1) St. John the Baptist in the Desert, in the Louvre, attributed to Raphael, but not considered to be his, by modern 
critics. 2) St. John, as the patron of Henri de Werl, Provincial of the Minorites in Cologne, by Peter Cristus (c.1415-1472) 
the early Flemish Master (see page 67). 3) Three scenes from the life of John the Baptist, by Roger van der Weyden 
(1400-1464), in the Berlin Museum. To the left is the Birth of the ‘‘ Forerunner;”’ in the middle, the Baptism of Christ; 
and then, the Decapitation. 4) The “Man who came before,” the Baptist, as that greatest of late Italian masters, 
Titian, saw him. This picture, now in the Venice Academy, is one of the finest things ever accomplished by Titian, who 
painted it when about 80 years of age. 5) St. John the Baptist performs his chief mission on earth, by baptising Jesus 
in the River Jordan. Note the Almighty Ary the Holy Ghost in direct line over the head of the Saviour. This picture, 
formerly in the Weber Collection in Hamburg, is by the anonymous Master of St. Severin (early 16th century), so-called 
from his best-known pictures being in the church of that name in Cologne. 


66 


ing world its Messiah. The “Salutation of Elisa- 
beth” or “‘the Visitation,” as it is most frequently 
called, is one of the favorite subjects in Sacred Art 
on account of the beauty of the human sympathy 





RAPHAEL’S CELEBRATED “MADONNA WITH THE BLUE DIADEM”’ 
IN THE LOUVRE. THE LITTLE ST. JOHN IN ADORATION BEFORE 
HIS DIVINE KINSMAN IS ONE OF THE MOST EXQUISITE CHILDREN 
IN ART 

expressed by the visit of the younger woman to her 
elderly kinswoman of whom she had just heard so 
wonderful a story, and of the mystic significance of 
Elisabeth’s instinctive recognition of the greater 
destiny of Mary’s Son. 

The Baptist is almost invariably recognisable by 
his camel’s-hair garment, his comparative youth, his 
emaciated frame, and his thin “‘reed cross,” a long 
reed wand with a small cross at the end. To this 
cross, or floating beside the Saint, is generally a 
pennant or scroll bearing an inscription. The com- 
monest forms are ‘“‘Ecce Agnus Dei”? (Behold the 
Lamb of God), and ‘‘ Vox clementis in deserto”’ (The 
Voice of the Merciful in the desert). He also is given 
a cup, and is frequently accompanied by the Lamb, 
as in a fine picture dated 1438 by the Maitre de 
Flémalle, now in the Prado at Madrid, of John the 
Baptist standing behind the donor, a Reformed 
Franciscan monk, Henri de Werl, Provincial of the 
Minorites in Cologne. This picture and its com- 
panion also in the Prado, representing St. Barbara, 
are the wings of a lost altar-piece by Jacques Daret, 
the master of the Flémalle altar-piece. 

The most important incident of the mission of 
St. John the Baptist whence, of course, he drew his 
name, was the Baptism of Our Lord, who standing 


in water almost to his knees, receives the first sacra- 
ment of the Church at the hands of the Messenger. 
The almost universal picturisation of this ceremony 
shows the Almighty, or a Hand or pair of Hands, and 
the Dove of the Holy Spirit, directly m line above 
the head of the Saviour. Some typical representa- 
tions of the Baptism of Christ as rendered by artists 
of various schools are illustrated in Chapter XII 
and Plate XXI. 

Another favorite subject from the life of the 
Fore-runner is his sojourn in the desert. It is in that 
aspect that Titian painted the picture mentioned 
above. Raphael painted him as a beautiful boy, 
seated on a tree trunk, while the curious Flemish 
painter Geertgen tot Sint-Jans (Gerard de St. Jean) 
presents him—in a picture now in Berlin—seated on 
a ledge of stone, clad as a hermit, in an attitude of 
profound meditation with the Lamb crouched beside 
him. The scene is a distinctly fertile desert, with 
lovely trees and a winding stream probably in the 
neighborhood of Haarlem in Holland where the 
artist resided at the monastery of St. John the Bap- 
tist, whence he derived the name under which he is 
known. 

The child St. John is another very popular sub- 
ject In art, particularly in pictures of the Madonna 
and Child which come under the heading of the 
Mater Amabilis or Loving Mother, described in 
Chapter V. Nearly all Raphael’s pictures of the 


Pere 





ST. JOHN THE BAPTIST IN THE DESERT, BY THE CURIOUS HAAR- 
LEM PAINTER, GEERTGEN TOT SINT-JANS (FIFTEENTH CEN- 
TURY), IN THE BERLIN GALLERY (SEE ABOVE) 





PLATE; XXII THE SAINTS IN ART 
















FURTHER | 
PICTURES OF | | 
THE BAPTIST, | | 
AND MARY 
MAGDALENE | 











1) St. John the Baptist in the Desert. A print by the Paduan engraver, Giulio Campagnola (1482-1514). This is one 
of the rare interpretations in which the camel’s hair garment is absent. (Courtesy of Kennedy and Co.) 2) The Magda- 
lene at the moment of Christ’s appearance to her in the Garden, the episode known as the “Noli me Tangere”’ (see page 
69). This picture is by Lorenzo di Credi, and hangs in the Louvre. 3) A fine picture of the Holy Trinity with the 
Magdalene and the Baptist, attributed to Botticelli, but unquestionably the work of Botticini (1446-1498). 4) Titian’s 
famous ‘“‘Noli me Tangere”’ in the National Gallery. While this work is remarkable from the standpoints of technical 
mastery and in drawing, color and composition, it lacks the reverent feeling of the earlier painters, e. g., even the affected 
picture by Lorenzo di Credi, illustrated above. This is a fault of all sacred pictures of the Italian schools bordering on the 
17th century and the decadence. 5) St. Mary Magdalene, by Carlo Crivelli (1435-after 1493), in Berlin. Note 
the curious form of the Pyx, and the rich costume (see page 72). 





Madonna and Child, such as the “‘ Belle Jardiniére”’ 
in the Louvre, and the Madonna with the Goldfinch, 
as well as numerous compositions by other painters, 
particularly Fra Bartolommeo and Andrea del Sarto, 
picture the two children, the little St. John as a 
beautiful child a little older than the Infant Jesus. 
The incidents relative to the death of St. John the 
Baptist have frequently been represented, their 
dramatic qualities rendering them specially appealing 
to the later Italians, and 16th Century Flemings. 

As Patron Saint of the City of the Lilies, the 
Baptist is present as an attendant in almost all 
Florentine pictures of the Madonna in trono painted 
by Florentine artists, and although his death, accord- 
Ing to tradition, took place about two years before 
the Passion, he is sometimes introduced into pictures 
of the Lord’s Supper, when they belong to the 
devotional class representing the institution of the 
Eucharist. Statues of St. John the Baptist are 
found in the baptisteries of a large majority of 
Catholic churches. 

* * * 

St. Mary Magdalene, the first penitent to receive 
the forgiveness of the Saviour, stands almost alone 
among the Saints on account of her communion 
with Our Lord. She remains ever a shining beacon, 
a living hope for all dissolute livers to “go and sin 
no more.” She was the sister of Martha and 
Lazarus, who was first a soldier, then the first bishop 
of Marseilles, he whom Jesus raised from the dead. 
Her second name was derived from that of her castle 
Magdalon, near Magdala* on the Sea of Galilee. 
It is said that their parents were of royal, or at least 
noble, blood, and Martha and Lazarus both lived 
in righteousness. But Mary who was very beautiful 
led such a dissolute life that she was known as “‘The 
Sinner.” But finally her sister persuaded her to 
meet our Lord at her, Martha’s, house, and as He 
spoke, Mary Magdalene became converted, and 
learning that the Master was to attend a feast 
in the house of Simon the Levite, she went there 
“‘and stood at His feet weeping, and began to 
wash his feet with tears, and did wipe them with 
the hair of her head and kissed His feet, and 
anointed them with the ointment” (Luke vu:38). 
The ointment box of alabaster called a Pyx, which 
Mary took with her to the house of Simon, is her 
own distinctive attribute in Art. This scene has 
been painted very frequently, being a special favorite 
with artists of the later Italian and Flemish pictorial 
periods, because it allows so much room for the 
rendering of gorgeous architecture and garments, 
both out of harmony with the spiritual significance 
of the event, and utterly wrong from the chrono- 
logical standpoint. Paul Veronese and the other 
16th Century Venetians, as well as Rubens and 
Van Dyke and their fellow-Flemings were particular 


*The name of this place was not Magdala, as it is called 
in the Bible (Matthew xv: 39), but Magadan. Its Arab name 
is “El Mejdel,’’ whence the incorrectly translated “ Magdala.”’ 


69 


offenders in this direction. Our illustrations show 
how the Veronese and Titian interpreted the ‘‘Feast 
at the House of Simon the Levite”’ at which Our 
Lord instituted, so to speak, the principle of Divine 





ST. 

HOUSE OF HER SISTER, MARTHA OF BETHANY, LISTENING TO 

THE WORDS OF CHRIST WHICH MADE HER RENOUNCE HER LIFE 

OF SIN AND LUXURY (SEE OPPOSITE COLUMN). THIS PICTURE 
IS BY TINTORETTO, AND HANGS IN THE MUNICH GALLERY 


MARY MAGDALENE, BEFORE HER REPENTANCE, AT THE 


forgiveness in contradistinction to the Old Testa- 
ment doctrine of a God of Punishment for unatonable 
sins. (See Chapter XII.) 

St. Mary Magdalene is represented in Art in 
several characterisations. 1) As the dissolute woman, 
given to all the pleasures of the world, that she was 
prior to her conversion and pardon, and also in the 
successive phases of remorse which culminated in 
her historic act of penitence. 2) As a participant in 
the drama of the Passion, as one of the women who 
went to the sepulchre on the third day (‘‘the first 
day of the week,” Luke xxiv:1) and finding not the 
body of Our Lord, returned and announced the 
Resurrection to the eleven Apostles, and what they 
had heard from the lips of the “two men in shining 
garments” (Luke xxiv:4) who had appeared to 
them by the side of the sepulchre. 3) At the mo- 
ment of the appearance to her of Christ, in the 
garden, on the day of His Resurrection, the subject 
known as the “Noli me tangere”’ (Touch me not) 
from the verse of the Gospel of St. John xx:17: 
‘And Jesus said unto her, Touch me not; for I am 


not yet ascended to my Father... .” This beautiful 
episode is always treated in a traditional manner 
with none present but the Saviour and the grieving 
Penitent. 





ST. MARY MAGDALENE IN THE DESERT, BY TIMOTEI VITI OF 

URBINO, IN THE BOLOGNA GALLERY. NOTE THE LONG HAIR 

UNDER HER CLOAK, AND HER DISTINCTIVE PYX, OR OINTMENT 

BOX, AND BOOK. THERE IS NO SKULL, WHICH IS UNUSUAL IN 
HERMIT PICTURES 

Then 4) Mary, Magdalene is represented as a 
recluse in the desert where for thirty years she ‘did 
penance for the sins of her past life.. The legend 
relates that she fasted so assiduously and so mortified 
the flesh in other ways that she must have perished 
had not. the Angels ministered unto her. And that 
during the-last few years of her seclusion, she was 
daily borne up to Heaven, or as it sometimes related, 
to the summit of a high mountam, in the arms of the 
divine messengers, to. hear the beautiful music and 
see “the glory and the joy prepared for the sinner 
that repenteth.”’ And there it was in the solitude of 
the wilderness, comforted only by the divine 
promise of pardon for the past, that she passed 
away, though according to other legends she died 
‘within the walls of a Christian Church after receiv- 
ing the Sacrament” from the hand of St. Maximin, 
one of the seventy-two disciples, who had baptised 
her and her sister, Martha, and their brother, 
Lazarus, later Bishop of Marseilles. 

All these aspects refer either to her historical or 
her legendary life, and must be classed under the 
heading of Narrative pictures. Other narrative pic- 
tures in which she appears are 1) Christ at the 


70 


house of Martha of Bethany, where the Magdalene 
first was moved to repentance by the words and 
bearing of Our Lord. 2) The raising of Lazarus. 
3) The Crucifixion, in which she is frequently 
shown with her arms round the shaft of the Cross, 
as in the devotional Fra Angelico crucifixion in the 
Metropolitan Museum. 4) The Deposition, the 
taking down of the Saviour’s mortal remains from 
the Cross. 5) With the Virgin Mary, Mary Cleo- 
phas and Mary Salome at the sepulchre. 

Devotional representations of the Magdalene de- 
pict her as the Patron Saint of. frail and penitent 
women, and of Provence and Marseilles in France, 
or as the Repentant Sister in the Desert. The former 
characterisation permitted the artist of early days 
to give free rein both to his vivid imagination and to 
his love of painting gorgeous dress-fabrics; for they 
all remembered, in those days of intense feudalism, 
that Mary Magdalene was a princess, or, at least, of 
noble rank, to whom sumptuary laws meant nothing, 
and whose dress therefore must be splendid. A 
curiously feudal sentiment of awe for the nobles and 
all and every thing that pertained to that privileged 
class was also largely responsible for the tremendous 
wave of enthusiasm with which the Magdalene was 
adopted as a favorite saint throughout the awaken- 
ing Europe of pre-Renaissance days. The very fact 
that she had been.a sinner seemed to bring this noble 
lady ‘‘la trés sainte demoiselle pécheresse’’ nearer to 
human level than were most of the saints, and par- 
ticularly did those who led dissolute lives themselves 





ST. MARY MAGDALENE, RICHLY DRESSED, WITH A “DESERT”’ 

BACKGROUND, HOLDING HER PYX, FROM A PICTURE BY THE 

FLEMING, JAN VAN SCOREL (1495-1562) IN THE RIJKS-MUSEUM, 
AMSTERDAM 


PLATE XXIII THE SAINTS IN ART 





MAGDALENE AS 
PAK ONESS 
AND IN SOME 
LATE NARRA- 
ELVESPIC LURES. 





1) A picture by Spinello Aretino (1333-1410), one of the later Giotteschi, in the Metropolitan Museum. It will be 
found described on page 73. 2) The famous “Reading Magdalene” by Pompeo Batoni (1708-1787), in Dresden. The 
skull and the book and the pyx (to the left behind her) should be noted. 3) Another late picture of the Magdalene in 
the Desert, by Ludovico Cardi da Cigoli (1559-1613) in the Pitti Palace in Florence. 4) Pietd, by Carlo Crivelli, in the 
Vatican. Note the strained expression of agony on all the faces, and the reverent attitude of the Magdalene as she 
holds the hand of Jesus in both of hers. A picture almost exactly similar to this one is in the Metropolitan Museum in 
New York. 5) “St. Mary Magdalene attended by the Angels”’ is the subject of a dramatic picture by Guercino (1590- 
1666) in Florence (see page 70). 6) St. Mary Magdalene, stricken by remorse for her sinful life, casts away her jewels, 
as she kneels at the feet of Jesus. This famous picture by Paul Veronese is in the National Gallery (see page 69). 





Fi 


prefer to address their prayers to one who would 
understand their sentiments and temptations, and 
who could better translate them to Our Lord, than 
to those other saintly women who had suffered 
martyrdom in defence of their faith and their chas- 
tity. These seemed too far away from the would-be 
penitents, but Mary Magdalene in spite of her high 





THE MAGDALENE (RIGHT) WITH ST. MARGARET, AS PATRONESS 

OF THE WIFE AND DAUGHTER, RESPECTIVELY, OF THE DAUGHTER 

AND WIFE OF THE DONOR. THIS “PORTINARI ALTAR-PIECE”’ 

BY HUGO VAN DER GOES (1405-1482) IS IN THE UFFIZI GALLERY 
(SEE OPPOSITE COLUMN) 


rank was, by their common sin, brought nearer to 
them. 

It must be remembered that the middle of the 
thirteenth century in Europe was dominated by a 
fear-inspired ‘‘wave of penitence,” expressed by 
innumerable pilgrimages to Rome, rigorous pen- 
ances imposed by the clergy both on themselves and 
on the members of their flocks, and the institution 
of ever severer regimes in monastic establishments. 
And it was right on the crest of this wave that news 
came of the discovery of the early remains of Mary 
and her brother, the Bishop Lazarus, at a place now 


called St. Maximin after the disciple who had bap- 
tised them. 

In Flemish and German pictures where it was 
almost customary to depict female saints in the 
richest satins, velvets and brocades, naively present- 
ing them as ipse facto “‘of,the Noble Class,”’ the 
Magdalene is invariably thus portrayed. In the 
famous Portinari Nativity, by Hugo van der Goes, 
now in the Uffizi Gallery, the right wing pre- 
sents the wife and small daughter of the donor, 
Tommaso Portinari, great-grandson of Folco of the 
same house, whose daughter, Beatrice, was rendered 
immortal by Dante’s beautiful love for her. The 
little girl is placed under the protection of St. Mary 
Magdalene, who is standing sumptuously garbed 
behind the devoutly-kneeling child. She seems lost 


‘in contemplation and ts holding in her right hand 


her alabaster ointment-box. In a curious picture 
by Jacob Cornelisz of Amsterdam, dated 1507, 
representing Christ appearing to the Magdalene in 
the Garden, she is still more richly dressed in semi- 
royal costume, but with her traditional blond hair 
falling loose from the elaborate head dress affected 
by women of high stations of the time. Her Pyx is 
standing beside her on the ground, a handsomely 
decorated vase. Our Saviour is portrayed holding a 
spade in his left hand! His right hand is placed upon 
the head of the woman, which hardly fits in with the 
version of St.John: “Noli me tangere”’ quoted above. 





JACOB CORNELISZ (1470-1533) OF AMSTERDAM, PORTRAYS 
THE MAGDALENE AS A RICHLY-DRESSED PRINCESS IN HIS 
“Noli me tangere,”? IN THE BERLIN GALLERY (SEE ABOVE) 


Carlo Crivelli, again, depicts the Penitent in gor- 
geous raiment, with her bosom uncovered, her long 
nair falling to her knees, and holding on her hand 
bent back, an ointment box, in the form of a drinking 
mug with a richly embossed lid! 

In Mantegna’s splendid Madonna and Child with 
the Baptist and the Magdalene, in the National Gal- 
lery, she is clad in the red tunic which is her color, 
expressing her great love, covered by a blue mantle 
for constancy. Her beautiful face is uplifted toward 
Heaven, with an expression of profound faith. In 
her right hand she holds a small pyx. This is one of 
the loveliest representations of St. Mary Magdalene 

that I have ever seen. Luca Signorelli shows her 
looking almost shamefacedly downwards at her pyx, 
while St. Catherine of Siena, bearing a lily, appears 
to be comforting her. An interesting votive picture 
in the Metropolitan Museum portrays Mary Mag- 
-dalene seated on a back-less throne, in a grey-green 
tunic covered by a brilliant scarlet mantle, with a 
hood, under which her hair is this time confined. 
She holds im her left hand a crucifix, and in the right, 
her ointment box, while four charmingly-painted 
musician angels are lined up on each side of her. At 
her feet are kneeling the donors, tiny hooded figures 
representing Friars of the Misericordia Fraternity as 
the Pyxon their shoulders indicates (see Plate X XIII). 

But apart from her more or less artificial role as 
patroness, Mary Magdalene has been painted innum- 
erable times in one of her two most interesting 
epochs, that of her sojourn as a penitent recluse in 
the desert. In this aspect she appears either nude, 
covered only by her long hair, or scantily clad in a 
garment of camel’s hair, similar to that of St. John 
the Baptist. A picture by Raphael’s first master, 
Timoteo Viti of Urbino, now in the Bologna Gallery, 
depicts her as a very beautiful and very young girl 
with bare feet, but otherwise completely covered by 
a crimson cloak over a camel’s-hair garment. The 
desert in which she is standing Is represented by some 
high crags and a cavein the background, while on 
the ground near her feet are a cross, a skull—the 
attribute of all desert hermits—and her omtment 
box standing on a closed Gospel. 

Again the famous Donatello statue in Florence 
shows her standing nude, very tall, extremely 
emaciated and covered to her knees with long flowmg 
hair. She bears no attribute but the general appear- 
ance of the statue and the Jong hair immediately fix 
for us the identity of the subject. 

She is painted nude, only partially covered, by 
all those artists of the early decadence to whom 
painting for its own sake bore more interest than 
for what it could express. In such figures they could 
not only exhibit their skill in Iimning the “female 
form divine,” but also in imprinting upon the face 
and general attitude of the Magdalene the dramatic 
sorrow and penance which she had imposed upon 
herself. Many of these, due to the brushes of such 
men as Rubens, Guido Rent, Ludovico Cardi, 


73 





ANDREA MANTEGNA’S SPLENDID MADONNA WITH THE BAPTIST 

AND THE MAGDALENE, IN THE NATIONAL GALLERY, BETRAYS A 

REVERENCE WHICH IS NOT ALWAYS SO APPARENT IN PICTURES 
OF THE GREAT PENITENT (SEE OPPOSITE COLUMN) 


Furmi, are depicted sitting upon a rock, while 
others such as the so-called Correggio Magdalene* in 
Dresden and the other far more beautiful Batoni 
picture in the same gallery, are lying at full Iength 
on the ground, buried deep in the study of the 
Gospel. These are often called ‘Reading Mag- 
dalenes.”’ The ointment box and the skull are always 
present in these desert pictures, and generally a 
crucifix. 





CHAPTER IX 


OF THE FATHERS OF THE LATIN AND GREEK 
CHURCHES 


If the Evangelists hold a special place in the 
established hierarchy of the Church because they set 
down in writing the Life and Doctrines of Our 
Lord, the Doctors of the Church again are given 
precedence over other saints, because it was they 
who not only interpreted the gospels for us, but also 
produced what we might call a working order of 
procedure for the systematic worship of what was 
in their day still a new, and more or less loosely- 
constructed, religion. The interpretations they set 
forth and the articles of faith they evolved are in 
force even now, and while this century of ours is one 
of scepticism and discussion, we must not forget 
when we gaze upon the pictures of the old masters 
that the Fathers or Doctors of the Church were so 


*Giovanni Morelli definitely and incontestably denies the 
authenticity of this picture as a Correggio. It bears none of 
the characteristics of the Parmese Master. According to 
Morelli it is a copy of a lost Correggio by the late 17th Century 
Dutch painter, Adrian van der Werff. 


PLATE XXIV THE SAINTS IN ART 


f/ THE FOUR 
DOCTORS 
AND 
ST. JEROME 
\ ALONE. 


\. 


1) A Crucifixion, by Lorenzo Vechietta (1412-1480) of Siena, with the half-figures of the four Doctors issuing from 
clouds around the Cross. Immediately to the left of the Cross is St. Paul. (Courtesy of the Kleinberger Galleries.) 2) Leo- 
nardo da Vinci’s famous unfinished St. Jerome in the Desert, now in the Vatican. Note the action of the great Hermit- 
Doctor, about to beat his breast with a large stone, and the remarkably dramatic lion in the foreground. 3) St. Jerome 
as a Cardinal (see page 79) in his cell at Bethlehem, with the translations of the Bible with which he is credited: Greek, 
Latin, and Hebrew. He is seen drawing the thorn from the foot of the lion, which act is one of the causes of the King 
of Beasts being his attribute. This illustration is from a woodcut by Albert Diirer, from an old book printed in Basle in 
1497. (Courtesy of O’Malley’s Bookstore, New York.) 4) The Four Doctors in attendance upon the Madonna and Child, 
by Moretto of Brescia, in the Stadel Institute, Frankfort. Reading from left to right, they are SS. Ambrose, Gregory, 
Jerome and Augustine. 5) St. Jerome in the Desert. A sketch by Giovanni Contarini (1549-1605) in the Brera in 
Milan. 6) “St. Jerome in His Study,” in the National Gallery, where it is attributed to Giovanni Bellini. Berenson, 
however, rightly gives this work to Giovanni’s pupil, Vicenzo Catena, whose style is clearly apparent throughout. 
7) St. Jerome kneeling, with the Bishop of Florence, St. Zenobio, at the foot of the Madonna and Child. In the back- 
ground, behind St. Jerome, are scenes from his real and legendary life. This well-known picture by Mariotto 
Albertinelli (1475-1520) is in the Louvre. 





highly venerated for their learning and their pro- 
found faith that their interpretations of the actions 
and sayings of Our Lord were looked upon as divinely 
inspired, and the judgment of their authors as 
infallible. 

The Doctors of the Church are divided into two 
groups, the Fathers of the Latin Church, St. JERoME 
(d. 420 A. D.), St. AmBrose (d. 437 A. D.), Sr. 
AucusTINE (d. 430A.D.), and St. GrEGory (Gregory 
the Great), who died in 604 A. D.—and those of the 
Greek Church—Sr. JoHN CuHRysOSTOM, meaning 
Golden Mouth, who died in 407 A. D.; St. Basix the 
Great, whose mother and father, two brothers and 
sister, were all noted for their piety and were 
canonised (d. 380 A. D.); St. ArHaNnasius (d. 373 
A. D.), author of the long Creed bearing his name, 
who never appears in art except as one of the group 
of Greek Fathers; and St. GREGoRy NAZIANZEN, who 
like St. Basil had a number of saints in his family, 
including his parents and two sisters. He was the 
intimate friend of St. Basil, with whom and Julian 
the Apostate he studied at Constantmople and 
Athens. He died in the year 390 A. D. 

The Greek Fathers, who preceded the Latin 
Fathers, and were indeed their teachers, are seldom 
found in what we call modern Western Art, that is 
to say, works produced since the 13th Century, or 
even since the final rupture in 1054 A. D. between 
the Roman and the Greek (Byzantine) Churches. 
Mrs. Jameson says that we may conclude that any 
picture exhibiting the Greek Fathers with their 
famous disciples must have been executed under 
Byzantine influence, but surely we can not apply 
that somewhat dogmatic statement to the Fra 
Angelico figures in San Lorenzo Chapel in the 
Vatican. However, “‘I/ Beato”’ only introduced St. 
Athanasius and St. John Chrysostom, as representing 
the four Greek Fathers, the places of the other two 
being taken by St. Leo the Great, who by his per- 
sonal intercession saved Rome from destruction at 
the hands of Attila the Hun, and St. Thomas 
Aquinas, “the Angelic Doctor,” the Dominican 
orator and theologian, who composed the Office of 
the Sacrament as it is still used today. His inclusion 
in the group ts due to his high rank as a Dominican— 
next after the founder and patriarch of the Order— 
and the veneration in which he was held by the 
painter, a Dominican himself, who created the pic- 
ture for a Pope who held the preaching friars in par- 
ticular esteem. 


In the rare pictures where the eight Doctors are . 


grouped together the Latin Fathers should be dis- 
tinguishable from their Greek teachers by their 
mitres. Greek bishops wear no head-dress at all, 
except St. Cyril, who is often included in a group 
of the Greek Fathers, and who wears a hood falling 
over his shoulders, the front of which is decorated 
with a cross. St. Cyril was Bishop of Alexandria 
from 412 to 444 and was the most earnest opponent 
of Nestorius, the “‘heretic” (see page 13). The Greek 


75 


Fathers, again being given no distinctive emblems 
or attributes in Byzantine or Greek art, can only 
be identified definitely if, as is usually the case, 
their names are inscribed above their heads, gen- 
erally on the rim of the nimbus. 

So much for the Greek Fathers. Now let us pass 
on to those venerable prelates who occur so fre- 
quently, either as a group or as separate figures in 
Italian works of all periods since the Proto-Renais- 
sance. There is no space for the usual description of 
their lives and characters, nor does such come 
within the true scope of this book. AII I shall 
endeavor to effect is to show how they are repre- 
sented in Art, with a succinct note as to the meaning 
of this rendering or that emblem. All biographical 
and legendary information may be found in Mrs. 
Jameson’s exhaustive treatise: “Sacred and Legend- 
aryeart. 

In devotional pictures when the Four Latin 
Fathers are grouped together, St. Jerome is shown 
either as a very old man, with a bald head, semi- 
nude, a hermit in the wilderness, with his book and 
writing implements, and accompanied by a lion,* or 
in the scarlet robes of a Cardinal, although cardinal 
priests as a class did not exist until three centuries 
after his death, a curious but studied anachronism.** 
St. Jerome also has, as an emblem, the model of a 
church on account of his strenuous labors in support 
of the Faith, of which he will always live as one of its 
great lights. 

St. Ambrose, the great orator and statesman, 
bishop of Milan, wears his episcopal robes and 
carries a scourge in his hand. Or a beehive is placed 
near him, in token of his remarkable eloquence, of 
which bees are the symbol. Again he is seen some- 
times bearing human bones in his hand, on account 
of the miraculous vision which Ied him to the burial 
place of two early martyrs, SS. Gervasius and Pro- 
tasius. 

St. Augustine, also m episcopal robes, should have 
a flaming heart as his attribute, but is usually with- 
out it, and is therefore difficult to distinguish from 
other bishops, except from the “‘context” of the 
picture, such as when the other doctors are all 





*Mrs. Jameson says that St. Jerome can be distinguished 
from St. Mark because the Lion emblem of the latter is 
“generally winged,”’ whereas that of the Latin Father is not. 
(Sacred and Legendary Art, Vol. I, p. 147.) This, however, 
is an error, for the lion of St. Mark is but rarely winged when 
the emblematic beast accompanies the saint. It frequently is 
in very early art, before the symbol was replaced by the 
Evangelist in human form (see Chapter VII). 

**St. Jerome, though the most eminent of the four Doctors, 
was the only one who occupied no high rank in the hierarchy 
of the church, an honor which he had steadfastly refused. 
Therefore, those who ordered paintings to be executed in 
honor of these learned men, caused the greatest of them to be 
dressed in the habits of a cardinal, thus placing him higher 
than the two bishops, Ambrose and Augustine, who were his 
contemporaries. St. Gregory, who was a pope, lived nearly 
200 years later. Another reason that has been advanced for 
the strange anachronism of the cardinal’s hat is that St. 
Jerome performed at the court of Pope Dalmatius_ the 
identical services that later were performed by cardinal- 
deacons. In Venetian pictures, St. Jerome wears a scarlet 
cloak coming up over his head like a hood. (Plate XXIV.) 


PEATE eV THE SAINTS IN ART 


AMONG THE 
EARLY MASTERS 





1) St. Augustine, with his mother, St. Monica, standing behind him, in a picture by Francia in the Bologna Museum. 

2) This interesting work by Carlo Crivelli, in the Berlin Museum, is fully described on page 82. The picture was painted 
for the Franciscan order, as is apparent from the fact that except for the two Doctors, Ambrose and Augustine, and 
St. Peter, all the other saints, SS. Francis, Bernardino of Siena, and Louis of Toulouse (as a bishop) all belong to the 
Seraphic Order. 3) St. Augustine, by Botticelli, in the Ognissanti Church in Florence (see page 83). 4) “The Dream of 
St. Augustine,” by Garofalo, in the National Gallery (see page 83). Behind the “Doctor of Grace,” who is engaged in 
writing his famous Discourse on the Trinity, stands St. Catherine, patroness of scholars. In the distance, by the shore, is 
St. Stephen, of whom St. Augustine wrote an eulogy, while above are the Madonna and Child with attendant angels. 
5) The “ Disputa:” St. Augustine, discoursing upon the Trinity to SS. Lawrence, Dominick and Francis (all standing), 
and SS. Sebastian and Mary Magdalene. Note the symbolic Trinity in the centre at the top of the picture, which is by 
Andrea del Sarto, and hangs in the Pitti Palace. 6) St. Ambrose, with the Baptist in attendance upon the Virgin and 
Child, by Ambrogio Borgognone (c. 1440-1423), in Berlin. Note the scourge with three thongs, thrice knotted, lying at 
the feet of St. Ambrose, and the Y-shaped pallium, which he wears over his chasuble as Primate of Northern Italy. 


76 


present with their emblems or attributes clearly 
defined, or when he is accompanied by his splendid 
mother, St. Monica, dressed in a black habit with a 
white or grey coif as the first nun of the Augustinian 
Order. Or again when there is some inscription near 
him, either the name of one of his books, such as his 
“Discourse upon the Trinity,’’* or his “Confessions,” 
or some phrase relating to his real or legendary 
career, particularly the famous “Tolle lege” (Take and 
read) which brought about his conversion. Occasion- 
ally also one finds a scroll inscribed ‘‘Te Deum,”’ 
which chant was composed for St. Augustine’s bap- 
tism, at the hands of St. Ambrose, in the latter’s 
church at Milan, and was sung alternately by the 
new convert and his sponsor as they walked slowly 
up the nave to the altar. In a picture by Carpaccio, 
at the Brera Museum of Milan, St. Augustine holds 


then St. Gregory in papal robes and tiara, the 
triple crozier, and an open book, but no dove; 
then St. Jerome as a Cardinal with one of the 
weirdest lions in art, quite small, and sitting like a 
dog at his feet; and finally St. Augustine without a 
book, dressed in his episcopal robes, and holding a 
flaming heart in his Ieft hand. The name of each one 
is inscribed in Latin in large gothic letters beneath 
the figure, without the title ‘“‘Sanctus.”’ We illustrate 
this naif panel here, by courtesy of the Ehrich Gal- 
leries. 

In the great Coronation of the Virgin by Giovanni 
d’Alemagna and Antonio Vivarini, in the Venice 
Academy referred to in Chapter VII, the Doctors are 
seated behind the Evangelists at the foot of the 
throne, St. Jerome m a scarlet cloak and hood with 
his model of a church, and St. Gregory as a Pope 





THE FOUR DOCTORS OF THE LATIN 


CHURCH 


a scourge which should not be his attribute at all, 
but that of his senior, St. Ambrose. 

The last of the Latin Fathers, St. Gregory, is 
always recognisable by his papal robes and tiara. 
His particular emblem, however, is a dove near his 
ear, again a symbol of inspired eloquence. Mrs. 
Jameson tells us that he was the last pope to 
be canonised, but there were eight more papal 
saints who came after him: SS. Martin (655-658), 
Agatho (679-682), Leo II (682-683), Gregory II 
(715-731), Leo IV (847-855), Leo IX (1049-1054), 
Gregory VII (1073-1085), and Peter Celestine V 
(1294-1204). 

Let us now take a few examples of the pictures 
which portray the Four Doctors of the Latin Church 
in their devotional aspect. One of the most interest- 
ing to my mind is the ingenuous panel (above) of 
the School of Avignon in France, painted at the 
time when that city was the seat of the Papacy. 
The four are standing in a row, independent 
of each other, all clad in their ceremonial robes; 
first—from left to right—St. Ambrose as a Bishop 
with a gospel but no other distinctive object; 


*The actual inscription which our readers will find in 
pictures is, of course, in Latin: De Trinitate. 


(i 


BY AN ANONYMOUS MASTER OF THE FRENCH SCHOOL OF AVIGNON. 


(Courtesy of the Ehrich Galleries) 
behind (to the left in the picture) SS. John and Mark, 


respectively, while St. Ambrose, carrying two human 
bones, and St. Augustine, both in episcopal robes, 
are behind (to the right in the picture) SS. Matthew 
and Luke, ‘respectively. In the Louvre there is an 
interesting canvas by Pier-Francesco Sacchi of Pavia 
who worked between 1512 and 1526 in Lombardy 
and Liguria (Genoa). It represents the Four Doctors 
seated round a white marble table under a richly- 
decorated portico. Beside each of them is one of the 
symbols of the Evangelists, the Eagle of St. John 
near St. Augustine, St. Luke’s Ox close to St. 
Gregory, the Angel of St. Matthew with St. Jerome, 
and the winged lion of St. Mark by the side of St. 
Ambrose, who is paring a quill. In front of the latter 
is the scourge which refers either to the Milanese 
patriarch’s daring disciplining of the Emperor Theo- 
dosius, or to his successful fight against the Arian 
“heretics” in Italy, culmmating in the triumph of 
the Trinitarians. When the scourge has three 
thongs or three knots, this is its usual significance. 
Guido Reni and Rubens and numerous other artists 
of the later periods have painted the Four Doctors, 
but the fervor of the primitives and their immediate 
successors had gone, and it was quite evident that 





PLATE XXVI THE SAINTS IN ART 


— SSM saa 
















| ITRAYING THE FOUR DOC. 
| ORS =PARAICUTAK ICY, 
SETAUGCUSHINE 


ce 
_ | SOME MORE WORKS POR- 








8. Ambrese- 
From Callots Leesan, 


| 
t 
| 











5 eile 


1) Raphael’s famous ‘‘DispuTA” in the Vatican, in which the Doctors can be recognized seated two on each side of the 
altar. 2) Madonna, with SS. Augustine and Jerome—as a Venetian Cardinal—at the foot of the great throne (see page 82). 
The fine picture is by the Ferrarese, Cosimo Tura (c. 1430-1495), and hangs in the Berlin Museum. 3) St. Ambrose admonish- 
ing the Emperor Theodosius. Note the beehive. 4) SS. Augustine and Jerome, the latter bearing in his hand a model of a 
church, by Carlo Crivelli, in the Vatican. 5) Cosimo Tura’s famous St. Jerome, in the National Gallery. Note the head-dress 
(see page 75, footnote. * *). 6) The ‘Madonna del Baldacchino,” in the Pitti, in Florence, one of Raphael’s best-beloved 
Madonnas im trono. The Saints gathered around the steps of the throne are Peter, Bruno (see page 124), James Major, the 
apostle, and Augustine, the Doctor of Grace. 





the technical possibilities of the subject had the 
greatest appeal for those who, like Rubens, depicted 
this subject on Jarge canvases. One of his interpre- 
tations, however, is worthy of notice; it shows the 
Four Doctors consulting each other while angels are 
holding aloft their attributes. 

Now in addition to these groups of the Four Doc- 
tors, each one frequently occurs by himself in devo- 
tional pictures, either enthroned as the special patron 
of the church in which it is hung, or as one of a mis- 
cellaneous group accompanying the Madonna and 
Child. St. Jerome, by far the most popular of the 
four, appears in such works, as described previously, 
either in the robes of a Cardinal, or as a semi-nude 
hermit, as in the ‘‘ Meditation on the Passion” by 
Marco Basaito (but attributed to Vittore Carpaccio), 





ST. JEROME IN HIS CELL AT BETHLEHEM, A FAMOUS ENGRAVING 
BY ALBERT DURER (1471-1528). NOTE THE LION AND THE 
LAMB, ASLEEP; THE SKULL; AND THE CARDINALS HAT. SUCH 
REPRESENTATIONS OF ST. JEROME IN HIS CELL WERE VERY 
POPULAR WITH VENETIAN PAINTERS OF THE I6TH CENTURY. 
(Courtesy of Kennedy and Co.) 

in the Metropolitan Museum, or the fine Alberti- 
nelli in the Louvre, in which St. Jerome kneels with 
St. Zenobio, patron of Florence, at the foot of a 
pedestal upon which is standing the Madonna hold- 
ing the Child. A famous picture by Giovanni Bellint, 
in the Church of St. Zacharias in Venice, contains a 
noble figure of St. Jerome in scarlet robes with a 
hood of the same hue upon his head, reading a large 
book. St. Peter, the Magdalene, and St. Catherine 
of Alexandria complete the group of four gathered 
around the high throne of the Madonna and Child. 
St. Jerome in his cell at his monastery in Beth- 
Iehem is another favorite subject of painters of all 
schools; Antonello da Messina and Vincenzo Catena 
in the National Gallery; Domenico Ghirlandajo in 
the Ognissanti in Florence; but perhaps above all, 
Diitrer’s wonderful engraving illustrated here. In 


79 





MADONNA AND CHILD, WITH SS. JEROME AND GREGORY, BY 

PINTURICCHIO, IN THE LOUVRE (SEE BELOW). NOTE THE RAPT 

EXPRESSION OF THE GREAT POPE, AS HE LISTENS TO THE DOVE 
NEAR HIS EAR. 


pictures of this phase of St. Jerome’s career, the 
lion, the skull, the cardinal’s hat, the crucifix are 
always present. St. Jerome kneeling in the desert, 
beating his breast with a large stone, is still another 
frequently-painted subject. Two typical works of 
this category, one by Marco Meloni, the other by 
Parentino, are in the Modena Gallery. In a very 
unusual Pietd, of the Eucharistic Ecce Homo type, 
by Giovanni Santi, the father of Raphael, painted 
for a church in Cagli, St. Jerome stands on one side 
of the emerging body of the Saviour, opposite St. 
Bernardino of Siena on the other. Again he is to 
be seen with St. Gregory, one on either side of the 
Madonna, in a tenderly interpreted picture by Pin- 
turicchio in the Louvre. St. Gregory is wearing his 
robes and tiara and appears to be listening to a dove 
hovering near his ear (see above). 

Narrative pictures of the life of St. Jerome come 
under the following subjects: 1) His receipt of the 
red hat from the Madonna or the Child. 2) His dis- 
pute with the Hebrew doctors, on the fundamental 
truth of the religion of Christ. 3) The Vision of St. 
Jerome, in which he is seen lying on the ground with 
an angel blowing a trumpet floating over him. 4) 
The Temptation of St. Jerome, distinguishable from 
that of St. Anthony by the attributes and symbols 
of each one. 4) St. Jerome translating the scriptures 
with divine help in the form of an angel. 6) The 
Saint as a young man chastised for preferring the 


DW NINS, LOVE THE SAINTS IN ART 








f/ INCIDENTS OF \.\) 
#7 THE LIFE AND \B 
LEGENDS OF 
ST. GREGORY 





1) Enthroned Madonna, with (from top left to right) SS. James Major, Fabian, Sebastian, and Catherine of Alexandria, 
by Paris Bordone, in Berlin (see page 84). 2) St. Gregory and the skull of the Emperor Trajan (see page 84), by Roger van der 
Weyden, the elder (d. 1464). 3) The ‘‘ Mass of St. Gregory” (see page 84), one of the interior wings of Pourbus’ “Last Supper,” 
in the Church of Saint Sauveur at Bruges. 4) St. Gregory appears in a vision to St. Fina, as she lies on her deathbed, by Do- 
menico Ghirlandajo, in S. Gimignano, Florence. 5) The Madonna and Child, surrounded by the Four Doctors, by Giovanni 


d’ Alemagna and Antonio Vivarini, in the Venice Academy. 6) The Miracle of the Brandewm (see page 84), by Andrea Sacchi 
(d. 1661), in the Vatican. 


80 


pagan classics to the Bible. 7) St. Jerome, in his 
cell, ministers to the wounded lion. 8) The Last 
Communion of the great Doctor, of which there is a 
fine example by Botticelli in the Metropolitan 
Museum and a still more famous picture by Domeni- 
chino now in the Vatican. 

There are other subjects too numerous for de- 
scription here, but whenever the great Father of 
Monasticism in the West is represented in art, he is 
unmistakable by his noble carriage and expression, 
and by the attributes already described, some of 















































the seat of the noble Gonzaghe; Brescia, Cremona 
and Bergamo; and in works of the masters of all these 
schools, St. Ambrose appears as Patron of the chief 
city. He was above all a man of great personal 
ascendancy and deeply imbued with the sense of that 
power, derived no doubt to some extent from his pre- 
conversion career first as the son of the Roman pre- 
fect of Gaul, and then himself prefect of the great 
provinces of Liguria and Emilia, of which in his day 
Genoa and Milan were the chief cities. He fixed his 
headquarters in the latter city, and one day shortly 
















































































































































































































































































which, particularly the lion and the cardinal’s hat, 
are almost invariably represented with him. 

The other three Latin Fathers have much less 
importance in Art than St. Jerome, and their dis- 
tinctive attributes or symbols have already been 
described as far as devotional representations are 
concerned. But there remain a few points, of interest 
to the student, to be made clear, and as St. Ambrose 
is the second of the four, we shall now tell how and 
where he has been depicted since the Revival of 
Learning. Firstly, let it be noted that as St. Am- 
brose was the Bishop of Milan, it is only natural that 
he should be present in practically all pictures com- 
prising a group of saints, issuing from the studios of 
the Milanese artists and those who worked in the 
principality of Milan. This principality, under the 
Visconti and again under the Sforze, included such 
highly-cultured cities as Pavia, the famous univer- 
sity city to which students from all over the then- 
known world traveled as on a pilgrimage; Mantua, 





81 


SS § 
= 


SS 


MY WG 
aa Ue 


ST. AMBROSE IN HIS ROBES AS BISHOP OF MILAN, REFUSES ENTRANCE TO THE CATHEDRAL TO THE EMPEROR THEODOSIUS. 
THIS SPLENDID PICTURE BY RUBENS (1577-1640), ILLUSTRATING AN IMPORTANT INCIDENT IN THE LONG STRUGGLE BETWEEN 
THE SPIRITUAL AND TEMPORARY POWERS, IS ONE OF THE TREASURES OF THE BELVEDERE GALLERY IN VIENNA (SEE BELOW) 


OAs 


SS 


after his arrival, the Bishop died, whereupon violent 
quarrels broke out between the orthodox Christians 
and the “heretical”? Arians. Ambrose in his official 
capacity set out to adjust their differences, giving 
full rein to that remarkable eloquence which had 
been prophesied for him at birth by the omen of a 
swarm of bees settling upon his mouth without 
stinging him. So well did he succeed that, so the 
legend relates, a child-like voice from amid the mul- 
titude cried ‘Ambrose shall be bishop,”’ to which he 
protested that he was not a Christian. But the 
populace was so insistent that he caused himself to 
be baptised and,.a few days later, was consecrated 
Bishop. His sense of his own intellectual and oratori- 
cal powers, and his total lack of physical or moral 
fear, gave him an immense hold over nobles and 
people alike, and so it came about that when the 
Emperor Theodosius, about eight months after caus- 
ing a cruel and totally unjustified massacre of 7,000 
Thessalonicans in reprisal for some trivial misde- 


meanor, wished to enter the church of St. Ambrose 
in Milan, the Bishop refused admission to the most 
powerful monarch in the world, until he had done 
penance. Naturally this dramatic scene has been 
illustrated frequently, but no picture of it Is more 
justly celebrated than Rubens’ magnificent canvas 
in the Belvedere Gallery in Vienna. (See Page 81). 





SS. AMBROSE (LEFT) AND AUGUSTINE IN THEIR EPISCOPAL 

ROBES. A DETAIL OF THE GREAT ENTHRONED MADONNA BY 

THE VIVARINI (C. 1540) IN THE VENICE ACADEMY. NOTE ST. 

AMBROSE’S SCOURGE WITH THE THREE THONGS. BOTH HIS 

SHORT ROUND BEARD AND THE LONGER BLACK ONE OF THE 
“DOCTOR OF GRACE” ARE TYPICAL 


The Bishop in full canonicals standing amid his 
priests and acolytes, repulses with a gesture of con- 
tempt and an expression of loathing, the half plead- 
ing Master of the Holy Roman Empire. And for once 
the bad taste so apparent in many of Rubens’ inter- 
pretations of religious subjects, is missing, for here 
the inherent strength of the great diplomat artist, 
which made him the intimate friend of all the lead- 
ing sovereigns of his day, has expressed itself in 
the grandiose figure of the famous Bishop without 
exaggeration or overdrawn drama. 

St. Ambrose is not often presented as a patron 
saint, but the great enthroned portrait—for it is of 
the quality of such—by Bartolommeo Vivarini and 
Marco Basaiti in the St. Ambrose Chapel of the 
Frari in Venice, shows him seated on the usual high 
Venetian throne, around which are gathered the 
other three doctors, with SS. John the Baptist, 


82 


George of Cappadocia, Theodore—a warrior saint— 
Sebastian, and Maurice, of the Theban Legion. 

St. Ambrose is also present, in episcopal robes 
and mitre, and with a short round beard, in a Ma- 
donna picture by Crivelli in the Berlin Gallery. It 
is as curious a work as all Crivelli’s, full of fervor, 
even passion, to such an extent that the faces of all 
are distorted, yet in every detail marvelously painted, 
betraying a technical skill unequalled except by the 
great Fleming, Janvan Eyck. At the foot of the throne, 
St. Peter is kneeling, and with one hand pressed against 
his bosom seems to be offering the golden key of 
Heaven to the Bambino. The Madonna, instead 
of being as is usual in such pictures, the dignified 
Mother of Our Lord, paying scant attention to the 
homage paid her Divine Son, is here frankly inter- 
ested, looking over the Child as though examining 
the “‘new toy”’ that the “‘old gentleman” at her feet 
is offering herbaby*. And all the other saints, includ- 
ing the venerable St. Ambrose, are looking on with 
the same semi-inquisitive, semi-respectful sentiment 
that, shall we say, the grandfathers and uncles show 
toward a newly-born infant. Yet, naif as this 
wonderful picture is, there is no mistaking its piety, 
nor is there, while looking at it, any of that feeling 
of humor on the part of the artist that we experience 
when we study early Flemish and Dutch pictures. 
St. Ambrose is peeping round from behind the high 
back of the throne on the right of the picture. In a 
picture, also in the Berl Gallery, by Ambrogio 
Borgognone, a Milanese painter, St. Ambrose, wear- 
ing a mitre and episcopal robes with the pallium of an 
archbishop** Iymg over the chasuble, stands oppo- 
site St. John the Baptist, one on each side of the 
Madonna enthroned. The great Doctor has two 
fingers raised in benediction; a scourge with three 
thongs, each knotted three times, lies on the step of 
the throne near his feet. 

St. Augustine, the third Doctor and the greatest 
of the four from an intellectual standpoint, is more 
frequently found in groups of Saints around the 
Madonna than any of the Fathers except St. Jerome, 
and indeed they are both found in the same group 
in numerous pictures which do not contain the other 
two doctors. A fine picture in the Berlin Gallery, 
by Cosimo Tura, of Ferrara, shows both of them 
standing one on each side of a tremendously high 
throne upon which is seated the Virgin adoring her 
sleeping Child. On either side of the Madonna, one 
step below her, are SS. Apollonia and Catherine, 
each with her special attribute and a palm. St. 
Augustine is in full pontificals, clean shaven, and 
holding an open book, while at his feet is an eagle 
with one claw on a crystal solar globe, looking 
furiously at the retreating lion of St. Jerome depicted 





*Though, of course, it should be Christ who gives the 
Key of Heaven to St. Peter, yet in this picture the gestures, 
particularly of the Madonna, who apparently is pushing the 
offered key away, appear to reverse the roles. 

**The title of Archbishop did not come into use until the 
middle of the 9th Century, nearly 500 years after the death of 
St. Ambrose. 


in cardinal’s robes but without the hat, and holding 
a crucifix in his hand. Both St. Augustine and St. 
Ambrose, as heavy-set bishops without attributes, 
are presented with SS. Catherme, Barnabas, John 
the Baptist and the Archangel Michael, in Botti- 
celli’s famous Madonna, in the Academy at Florence. 
This master has also painted St. Augustine in his cell 
im monastic attire with his mitre off, gazing at a 
solar globe, while mathematical instruments and 
books with diagrams are on a shelf behind him. 

I can find, in the histories of St. Augustine, no 
reference which explains the introduction of these 
globes and instruments, unless they might be inter- 
preted as relating to his pre-conversion studies, and 
the discovery of the falsity of the Zoroastrian 
astrology, and his researches into the exact sciences, 
which Jed him away from the pagan creed, a form of 
Mithraism (see Chapter I), into the paths of the true 
faith. The attitude and expression of doubt on the 
face of the ‘Doctor of Grace”’ as he looks up at the 
solar globe on a shelf of his desk, and the position, at 
the back of the room, of the mathematical instru- 
ments, should probably be interpreted to indicate 
that he had left such studies behind him. They can 
not refer, in these two pictures, to his early days, as 
a brilliant young pagan student, for in the Cosimo 
Tura picture he ts clad in episcopal robes, and in the 
Botticelli panel in a monastic habit with his mitre 
beside him on his writing table. 

_ Perugino again introduces our Saint in the black 
habit of the Augustine monks, with the mitre and 
crozier of an abbot, in the exquisite ““Madonna and 
Child” in the Church of S. Agostino at Cremona, 
and as such again, but with a bishop’s cope over his 
black robe, he is present in Francia’s famous ‘‘Adora- 
tion of the Infant Christ”’ in the Bologna Pinacoteca. 

St. Augustine is very often accompanied by his 
mother, St. Monica, but in a pair of single figures 
attributed to Botticini, in the Florence Academy this 
saintly lady, in the black robes of her great son’s 
foundation, is the pendant to St. Louis of Toulouse, 
in the robes of a bishop, his cope strewn with stars. 
A splendid polyptych im five panels by Paolo di 
Giovanni (1403-1482), formerly in the collection of 
Count Alleotti of Arezzo, now the property of the 
Colonel Friedsam, shows from left to right, each 
in separate panels, St. Monica, her black habit 
covered by a grey cloak, and with a white veil, St. 
Augustine with his mitre and an episcopal cope over 
his Augustinian habit, with its distinctive leather 
girdle, reading a book, the Madonna and Child, 
St. Nicholas of Tolentino also in the habit of the 
Augustinians, and St. John the Baptist. (P. 125.) 

St. Augustine is very rarely seen in pictures of 
Northern schools, 7. e., those of Flanders and Ger- 
many. 

Narrative pictures of the life and legends of St. 
Augustine include: 1) St. Monica taking her son to 
school and presenting him to his master. 2) Medi- 
tating upon the Scriptures as he lies prostrate be- 


83 


neath a tree. 3) His Baptism. 4) In monastic 
dress, giving the rules of his order to the monks. 
5) In his black habit, dispensing alms. 6) The 
famous vision of St. Augustine in which he dreamt 
that strolling one day along the sea shore, meditating 
upon his book on the Trinity (De Trinitate) he saw 
a child filling a hole in the sand with water from a 
bucket. He asked the child what he was doing and 
received the reply that he was going to empty the 
sea into the hole he had dug. St. Augustine pointed 
out that it was impossible, upon which the child 
replied that it was no more impossible than to try, 
as St. Augustine was trying, to explain the mystery 
of the Triple Godhead. Garofalo’s famous rendering 
of this legend in the National Gallery is illustrated 
on Plate XXV. 

One of the most famous pictures in Europe is that 
by Andrea del Sarto in the Pitti Palace, in which St. 
Augustine is discoursing upon the Trinity with St. 
Lawrence, St. Peter Martyr and St. Francis, who 
are standing, while St. Sebastian and the Magdalene 
are kneeling in front. Above the group, emerging 
from the background, is the Almighty holding a 
Cross upon which hangs Our Lord. The great Doctor 
is here shown as an Augustinian Abbot with his staff 
but no mitre. In a text book on Andrea del Sarto, 
by Leader Scott, the author calls St. Lawrence (who 
holds his gridiron): St. Stephen; St. Peter Martyr 
with his distinctive slash in his head is called St. 
Dominick, and in addition the personalities of St. 
Peter Martyr and St. Francis are transposed. 
This ts only one example of the careless analysis of 
the characteristic marks of the Samts m many books 
on art. In Brewster’s “Saints and Festivals of the 
Christian Church” (pp. 384-386) the author names 
St. Simon as one of the Doctors, mstead of St. 
Jerome, and closes the section by saying that Dtrer 
(1471-1528) was “‘proud to be the engraver of Van 
Dyck’s (1599-1641) picture” (of St. Augustine)! 

The fourth and last Latin Father, Gregory the 
Great, is one of the outstanding figures in the his- 
tory of the Church. Like St. Monica, the mother of 
St. Augustine, Gregory’s mother, the patrician Lady 
Sylvia, wielded a great and good influence upon her 
noble son, both by the example of her own exemplary 
life and by the wisdom of her counsels during the 
formative years of his career. It is not generally 
understood, I believe, to what extent St. Gregory 
made his short reign of fourteen years in the Pon- 
tifical chair felt in the establishment of the Catholic 
Church as it still exists today. He it was who gave 
it one of its most powerful weapons, the celibacy of 
the clergy; who introduced organised sacred music, 
still known as the Gregorian chants; who reformed 
the services of the Church which under his prede- 
cessors had become more and more lax; who, shocked 
at the idea of perpetual punishment for mankind for 
innate and uncontrolable sin, preached, if he did not 
actually originate, the doctrine of purgatory, and 
decreed it to be an article of faith; who declared his 


hatred of slavery and aggressive war; and fixed the 
vestments of the ordained ministers of God and the 
emblematic significance of each. And he it was who 
was almost directly responsible for the founding of 
the British Empire, when upon seeing some pagan 
English slaves offered for sale in the public mart in 
Rome, he sent St. Augustine of Canterbury—do not 
confuse with the great Doctor, St. Augustine of 
Hippo—to England to convert its natives to Chris- 
tianity. Trained in statecraft by twelve years as 
Mayor (Praetor) of Rome, his administration of the 
Church was broad-minded, charitable, and vigilant. 
He protected the Jews though he was the most ardent 
of proselytisers, and when they were suffering under 
persecution in Sardinia, St. Gregory ordered that 
they be allowed to worship in their own way, and 
their confiscated synagogues be returned to them. 

In single devotional representations, he comes to 
us as a powerfully built, dignified man, with Iittle 
or no beard, and jet black hair, almost always in the 
pontifical robes and the triple crown of the successors 
of St. Peter. We have already mentioned St. Greg- 
ory’s appearance with St. Jerome in the Pinturicchio 
pictures in the Louvre, when dealing with the earlier 
Father. He is, perhaps, more often than any other 
Saint, portrayed in trono, surrounded by other 
saints, and almost always with a dove hovering near 
his ear. Thus have Guercino, and Michelangelo, and 
many others, portrayed the great Pope. Annibale 
Caracci has represented him at prayer, with his tiara 
at his feet, and angels hovering around. Ina splendid 
Enthroned Madonna, by Paris Bordone, the late 
Venetian master (1500-1571), in the Berlin Gallery, 
painted with all the brilliancy of color and vivacious- 
ness of his school, there are, besides St. James Major 
and St. Catherine of Alexandria, two other Saints on 
the tesselated pavement at the foot of the throne, 
who are called by the German critic, Oskar Fischel, 
St. Gregory and St. Sebastian, the latter almost in a 
swoon, bound to a column and transpierced with an 
arrow in his heart.* The Pope, who is represented 
as a handsome man with a flowing white beard, in a 
white surplice over a black habit, the whole covered 
by a rich cope, can not be St. Gregory, for the papal 
tiara lying on a cushion at the foot of the throne has 
a martyr’s palm placed across it, and St. Gregory was 
not a martyr. It might have seemed at first that the 
palm was that of St. Sebastian placed there for the 
sake of the composition of the picture, as the painter 
was of a school to which technique counted for more 
than sincerity and truth, but the portrait is too far 
distant from the traditional appearance of the last 
Latin Father for this to be the explanation. Nor is 
the Pope, St. Clement, for he has no anchor. He 
must therefore be St. Fabian, who is often depicted 
with a book and a palm-branch. 





*This is a mistake, for the story of St. Sebastian relates 
that the arrows were aimed only against non-vital places in 
his body. Generally, the Second Patron is fastened to a tree or 
a column as in figures 5 and 7 on Plate XXVIII, and on page 88, 
but there are other exceptional representations, as in the narra- 
tive picture of his martyrdom, by Antonio Pollajuolo, in the 
National Gallery, where he is fastened high up the trunk of a tree. 


84 


So many other semi-narrative, semi-devotional 
pictures relating to incidents in the career of St. 
Gregory have been painted that we must explain 
briefly the more important, in order to help the 
student as much as possible. 


1) Sometimes he is writing, in which case the 
book upon which he is working is his famous volume 
of ““Homilies.”” At other, he is dictating it with a 
dove on his shoulder. 


2) An interesting picture by Domenico Ghir- 
Iandajo, in S. Gimignano, depicts the miraculous 
appearance of St. Gregory surrounded by seraphs, 
to Saint Fina, as she lay on her death-bed. (See 
Plate X XVII). 


3) The ‘Supper of St. Gregory”? at which the 
twelve men whom, after his election to the Papacy, 
he fed at his table every night nm commemoration of 
the Lord’s Supper, were miraculously joined by a 
thirteenth, seen by St. Gregory only, and who, the 
legend says, was Our Lord Himself. Paul Veronese 
and Vasari, among others, have painted this episode. 


4) But one of the most famous subjects in art, 
dealing with the life of the great Pope, is the “Mass 
of St. Gregory,” at which an incredulous bystander 
having expressed a doubt of the Real Presence in the 
Eucharist, the Saviour, acceding to the prayers of 
the Pope, descended in a vision upon the Altar, sur- 
rounded by all the instruments of the Passion. 
(See Plate X XVII). 


5) Andrea Sacchi, (d. 1661) has also left us a note- 
worthy canvas of another important episode, the 
“Miracle of the Brandeum.” The picture is now in 
the Vatican. The story runs that the Empress Con- 
stantia having asked the Pope to send to her in Byzan- 
tium some of the sacred relics of SS. Peter and Paul, 
St. Gregory pomted out the impossibility of such 
desecration, and sent her instead the Brandeum 
(consecrated winding sheet) of St. John the Evan- 
gelist, which the Empress. rejected. It is said that 
in order to prove that the value of such relics is m 
direct ratio to the faith their holders possess in them, 
St. Gregory thrust a knife through the Brandeum, 
whereupon blood flowed from it as from a living 


body. (See Plate XXVII). 


6) St. Gregory and the Emperor Trojan, whose 
soul, though that of a pagan, was released from Hell 
through the mtercession of St. Gregory, impressed 
by the sense of justice displayed by the Emperor in 
the matter of a widow’s son. This subject was 
also a popular one among the later Italian painters. 


(See Plate X XVII). 


Care must be taken to avoid confusion of St. 
Gregory with a number of other papal saints who 
are always portrayed in full pontificals. In the 
Church of San Clemente in Brescia, St. CLEMENT 
appears in a series by Moretto. But he is always 
accompanied by his particular attribute, an ANCHOR. 
St. PETER, again, is frequently represented as a 
Pope, the first Bishop of Rome, but he invariably 


when thus depicted bears his Krys. St. Fasran 
was another Pope who has a dove as an attribute, 
not as a sign of eloquence, but in reference to the 
legend that the Holy Ghost, in its usual form, 
descended upon his head, when, as an unknown lay- 
man, he was thus designated for the chair of St. 





THE SO-CALLED “PENANCE OF ST. JOHN CHRYSOSTOM” EX- 


THIS PAGE. FROM AN ENGRAVING BY ALBERT 
(Courtesy of Kennedy and Co.) 


PLAINED ON 
DURER. 


- Peter upon the death of St. Anterus in 236 A. D. 
St. Fabian died, a martyr, fourteen years later. 
He is sometimes shown upon his knees before a 
block, with the triple crown on his head. Frequently 
he carries a palm, and occasionally a_ sword, 
but generally is represented in papal vestments 
without attributes. The context of the picture 
should show which papal saint is meant where there 
are no distinctive signs. The great French painter 
and etcher, Jacques Callot, has drawn St. Fabian 
with a palm. St. Sy_vesTEr, who ruled the Western 
Church from 314 to 335 A. D., and during whose 
pastorate it was that Christianity became the official 
religion of Rome, by order of the Emperor Constan- 
tine, is represented in pontifical robes, but often has 
a bishop’s mitre as “‘Bishop of Rome,” the original 
title of the Popes, in lieu of the tiara. His partic- 
ular attribute is a Butt crouched at his feet. His 
robes distinguish him again from St. Luke, who, 
as we know, is generally accompanied by an ox. 
On Plate V, St. Sylvester is shown without the 
Bull but with a muzzled dragon in his arms. Pope 
Sixtus IV was not canonised but is mentioned here 
as appearing in Raphael’s “‘Sistine Madonna,”’ so- 
called because it was painted for the Benedictines 
of San Sisto at Piacenza, who sold it to the Elector 


Augustus of Saxony, for about $40,000, in order to 
procure funds for repairing their church. 

And now for the one Greek Father with whom we 
need concern ourselves from an art standpoint: St. 
John Chrysostom, the Golden-mouthed, one of the 
great orators of bygone days. He was born at An- 
tioch in 344, and his mother, Arthusia, was as re- 
markable a woman as were the Lady Sylvia and St. 
Monica, the mothers of SS. Gregory and Augustine, 
respectively. St. John Chrysostom, like the other 
Greek bishops, is indicated in devotional pictures 
only by his name inscribed somewhere near him, as 
already mentioned. He bears no attribute to dis- 
tinguish him, unless at times a dove is given to him, 
in recognition of his inspired eloquence, and particu- 
larly his splendid appeal for mercy for the people of 
Antioch when that touchy person, the Emperor 
Theodosius, threatened them with a massacre such 
as he had ordered at Thessalonica, and for which he 
had to do penance before St. Ambrose would grant 
him the right to enter his church in Milan (see p. 81). 
One curious legend of the first Greek Father relates 
to his sojourn of five or six years in the desert, during 
which time he fed upon wild grasses and vegetables. 
He is shown, e. g., In a print by Albert Durer, crawl- 
ing along on all fours, while a nude woman in the fore- 
ground ts suckling a child. A royal princess, whom 
some believe to have been Geneviéve of Brabant, 
wife of Count Siegfried, having been unjustly accused 
of infidelity to her husband, was Ied into the forest, 
there to be put to death. Her executioners, however, 
relented and let her live. She gave birth to a child, 
and some years later she was found again by her 
husband, now convinced of her innocence, and taken 
home. Her accuser was executed in her stead. 
Another version of this legend does not identify the 
princess and relates that she came to St. John Chry- 
sostom’s cave, to which at first he refused to admit 
her, thinking she was a Demon sent to tempt him. 
But on her assurance that she was a Christian and 
that she would be slain by the wild beasts if he 
refused her refuge, he took her in, dividing his cave 
into two parts, one for her and the other for himself. 
But, the legend continues, a sin was committed, and 
St. John Chrysostom filled with remorse, took the 
princess up and threw her over a precipice. This 
only made matters worse and the hermit went to 
Rome, confessed his sins and begged absolution, 
which was refused. He then made a vow that he 
would never rise from the ground until his sin was 
expiated, and so, for fifteen years, until from out of 
the mouth of a babe came the inspired message 
“John, come thou and baptise me,” when he was 
recognised, did he live like an animal, feeding upon 
herbs, and crawling on his hands and knees. The 
princess was found to be alive with her child, the 
scene depicted above. The Durer rendering is some- 
times called “‘Geneviéve de Brabant,” but the 
Church agrees so little with this interpretation that 
the Flemish princess has been canonised. 


CHA PTEREX 


THE PaTRON SAINTS OF CHRISTENDOM, THE VIRGIN 
PATRONESSES AND THE FouR GREAT VIRGINS OF 
THE LATIN CHURCH. 


All Saints are in a way Patron Saints, but whereas 
the aid of most of them is only to be invoked in 
some particular country or locality, or as protection 
against, or to “‘doctor,’’ some particular malady, 
pestilence or others of the woes which assail man- 





ST. GEORGE AND THE DRAGON, FROM THE PICTURE BY RAPHAEL 
IN THE LOUVRE 5 


kind, there are some few who are worshipped uni- 
versally throughout Christendom. These, in their 
order of precedence in Church hierarchy, are: 

1) St. GeorGE oF Cappapoci, Patron of Eng- 
Iand, Germany and Venice, and of soldiers and 
armorers of all countries. 

2) Sr. SeBAsTIAN. Patron against plague and 
pestilence, a favorite of the Venetians. 

3) Sr. Rocu. Patron of prisoners, of the sick, 
and, particularly, of the plague-stricken. 

4) SS. Cosmo and Damian. Patrons of all med- 
ical men and medicine. Also of the Medici family in 
Florence. 

5) Sr. CHRISTOPHER. Patron against fire, earth- 
quakes, accidents, tempests and floods. 

6) St. Nicnotas oF Myra (or Bari). Chief 
Patron of Russia (pre-Revolution), and of Bari, 
Venice, Freiberg, and many other seaports and 
towns devoted to commerce. Also, of school boys, 
and to a lesser degree of all children, of poor maidens, 
sailors, merchants, and against robbers and losses 
therefrom. 

The Virgin Patronesses are: 

1) Sr. CATHERINE OF ALEXANDRIA. Patroness of 


86 


Venice, of schools and colleges; of philosophy and 
science; of all students; and of diseases of the tongue. 

2) Sr. BARBARA. Patroness of Mantua, Ferrara, 
and Guastola; of armorers and gunsmiths; of fire- 
arms and fortifications; and against explosive acci- 
dents, thunder and lightning. 

3) Sr. Ursuta. Patroness of young girls, particu- 
larly those who are at school, and of all women who 
have consecrated their lives to the education of their 
own sex. 

4) St. MarGArReET. Patroness of Cremona, and of 
women in childbirth. 

None of these patrons and patronesses have any 
scriptural sanction, but for various reasons have 
become so generally popular that they form a class 
by themselves. The patrons who have both the 
scriptural and apostolic sanction are: 

1) St. PETER; Patron and First Bishop of Rome 

2) St. Mark; Patron of Venice (San Marco). 

3) Sr. James; Patron of Spain (Sant’Jago). 

4) St. Mary MaGpAten; Patroness of Provence 
and Marseilles and of penitent women. 

The four Great Virgins of the Latin Church are: 

1) Sr. Cecitia. Martyr; Patroness of music and 
musicians. 

2) Sr. Acnes. Martyr; Patroness of Roman 
women and of maidenhood. 

3) Sr. AcatHaA. Martyr; Patroness of Malta and 
Catania; against diseases of the breast; and against fire. 

4) Sr. Lucta. Martyr; Patroness of Syracuse; of 
the laboring classes and against diseases of the eyes. 

* * * 

Now let us state briefly who each of these saints 
were and the reasons for their outstanding position. 
But first be it noted that all of them except St. 
Roch, St. James the Great, and St. Mary Magdalene, 
were martyrs, and again that with the single excep- 
tion of St. Roch, they were all of that noble company 
which in the earliest days of the Christian religion 
were of so steadfast a faith that in the end their 
example prevailed against the creed of the pagan 
deities, and the beautiful doctrines of Our Lord 
Jesus Christ came to be the official faith of then 
known civilised world. St. Roch was a late saint, 
who died in 1327 A. D. and so does not appear in the 
first pictures of the early Renaissance artists. 

* * * 

St. George of Cappadocia is perhaps the best 
known and most easily recognisable of all the saints 
in the Calendar. He is always shown either, in nar- 
rative pictures, such as Raphael’s little gem in the 
Long Gallery in the Louvre, on horseback, fighting 
with the dragon which was devastating the country- 
side and devouring both flocks and maidens; or, in 
devotional pictures, with a broken lance, and a dead 
dragon at his feet. He is always young and clad mn 
armor, but is distinguishable from St. Michael who 
also is seen in combat with a dragon—representing 
in this case the Prince of Evil—by the fact that he 
has no wings, as has the Archangel. One day he 


PLATE XXVIII THE SAINTS IN ART 





SLOnGae 
AND 
SOME 
Or 
Meds 
MANY 
JES alate, 
ale 
Oimeobs 
BASTIAN 




















; 


“=. 


7 ee Mee Se 





1) Mantegna’s world-renowned St. George, in the Venice Academy. 2) A very curious St. Sebastian of the School of Orcagna 
(14th century) (Courtesy of the Ehrich Galleries). 3) Another devotional St. Sebastian, in courtier’s dress, by an unidentified 
Spanish painter (17th century). 4) Madonna, in trono, with St. John the Baptist (right) and St. George in armor, by Ercole 
Roberti (c. 1430-1496) in the Berlin Museum. 5) Diirer’s interpretation of St. Sebastian (see page 88). 6) SS. Sebastian— 
again in court dress—and Matthew, by Girolamo da Santa Croce, described on page 88. (Courtesy of the Ehrich Gallerizs.) 
7) The Madonna with SS. Sebastian, as he is usually portrayed, Jerome, James Major and George, by Lorenzo Costa, in San 


Petronio at Bologna. 


87 


observed upon the gates of the temple a decree of 
the Emperor Diocletian denouncing the Christians, 
and risking the fury of his master—for he was a 
Roman legionary—he tore it down and destroyed it. 
For this, after torture lasting eight days and borne 


PERUGINO’S FAMOUS ST. SEBASTIAN IN THE LOUVRE. 

FREQUENT ERROR OF PAINTERS OF CERTAIN SCHOOLS TO DEPICT 

THIS SAINT, WITH ARROWS EMBEDDED IN VITAL PARTS OF THE 

BODY, WHEREAS HE WAS NOT MORTALLY WOUNDED THUS AND 
WAS FINALLY PUT TO DEATH BY THE SWORD 


Tpers A 


with surpassing fortitude, he was beheaded. The 
Greeks honor St. George with the title of the Great 
Martyr. For a time his deeds in defence of Chris- 
tianity appear to have been questioned by the 
Church, and in 494, St. Gelasius, the Pope, refused to 
admit him to the reformed calendar of Saints. It 
was the famous crusader, the first king of Jerusalem, 
Godefro1 de Bouillon, who invoked the aid of the 
warrior saint and made his name the battlecry of the 
English hosts. In 1222 his feast day, April 23rd, was 
ordered to be kept as a holiday, and in 1330, the 
institution of the Order of the Garter, with its 
““Great George”’ and “Little George”’ badges, estab- 
lished the young saint’s position forever as the patron 
of England. Prior to his adoption, although he had 
been popular for a long time, St. Edward the Con- 
fessor had been the Anglo-Saxon patron Saint of 
the English people. St. George, in German pictures, 
is clad in the armor and costume of the painter’s 
day, as in the case of the Holbein representation 
illustrated on Plate V. His banner always is white 





88 





with the red cross known by his name. St. George 
died in 303 A. D. 

St. Sebastian’s pictures are well-known to all who 
visit the great galleries of the world. He is almost 
always presented nude, with only a cloth round his 
loms, attached to a tree, with either—in narrative 
pictures—soldiers shooting arrows at his unprotected 
body, or—in devotional pictures—alone, his body 
transpierced at non-vital spots with arrows. Exam- 
ples of both types of pictures are to be found in every 
gallery which contains sacred pictures of the 13th to 
17th centuries... In some German pictures there are 
modifications of the usual presentment, as in a 
famous engraving by Diirer where St. Sebastian is 
depicted as a man in the prime of life with a 
beard and shaggy locks. In a large polyptych of the 
Madonna and Child by an anonymous Spaniard, 
which was formerly in the Salomon Collection, 
dispersed in New York in 1923, St. Sebastian Is 
portrayed in a court dress of pourpoint and tights 
with large velvet cap on his head. He is a hand- 
some figure, but has nothing to remind us that he 
is the self-sacrificing martyr for Christianity 
except a small arrow which he holds in his hand. 
(See Plate XXVIII) 

But what is still more curious, an Italian painter 
of Bergamo, Girolamo da Santa Croce, who worked 
between 1520 and'15449, has left us a St. Sebastian— 
with an Evangelist—also dressed in a short tunic, 


MADONNA AND CHILD, WITH SS. ROCH (RIGHT) AND LOUIS OF 

TOULOUSE, BY ROMANINO (1487-1566), IN THE BERLIN GAL- 

LERY. NOTE ST. ROCH’S GESTURE OF INDICATING HIS FESTERING 

THIGH, AND HIS PILGRIM’S STAFF. ALSO THE CROWN AT THE 
FEET OF THE YOUNG FRENCH ROYAL BISHOP 


tight red hose and blue calf-high boots, with a gold- 
embroidered mantle hanging from his shoulders, 
holding im his right hand a Jong sword in its scabbard 
with the point resting on the ground, and with his 
left hand lightly laymg an arrow across his right 
forearm, a most unusual treatment of this saint for 
an Italian. St. Sebastian died in 288 A. D. 

Sr. Rocu is always represented as a pilgrim, with 
his staff and wallet, and frequently accompanied by 
a dog. He invariably points to the ulcer on his thigh 
which he contracted at Piacenza where he had 
stopped to help cure the afflicted during the course 
of a dreadful plague which had fallen upon the in- 
habitants. For some time before, he had devoted 
his life to the care of the sick, going from city to city 
wherever he learnt that the plague was raging. After 
his own infection, he went through many troubles 
and terrible sufferings, till he was at last thrown into 
a dungeon by an uncle who failed to recognise his 
nephew in the wan and ragged pilgrim who had come 
home. He lingered in this dungeon for five years, 
but one day his soul having been released in the 
night, his jailers found upon him a Ietter in which 
was written his name and a statement to the effect 
that ‘Whosoever, being stricken by the plague shall 
pray for relief through the intercession of St. Roch, 
the servant of Our Lord, shall be healed.’ For 
nearly a century after his death St. Roch remained 
simply a local saint of the neighborhood of his es- 
tates near Montpellier in France, but in 1414, the 
plague having descended upon the city of Constance, 
where the Grand Gicumenical Council was in session, 
his aid was invoked at the suggestion of a German 
monk, who, having traveled in France, knew of the 
reputation of this saint. An image was carried 
through the streets of Constance with prayers and 
chants, and the plague is said to have abated and 
ceased its ravages. This was the commencement of 
the universal fame of St. Roch, and in 1485, the 
Venetians fearing the plague more than any other 
city of the Peninsula, on account of her extended 
intercourse with Eastern marts, determined to ob- 
tain the relics of St. Roch for their city. So under 
the guise of pilgrims, a company of these wiliest of 
Italians set forth, and reaching Montpellier, plun- 
dered the tomb of St. Roch, and bore his bones to 
Venice. The Church of San Rocco was built to 
receive them. His patronage of those in prison pro- 
ceeds from his own unjust, but courageously borne, 
imprisonment. St. Roch died in 1327 A. D. 

The two brothers, SS. Cosmo and Damian, being 
the patrons of the Medici overlords of Florence, are 
to be found in numerous pictures painted by early 
artists of the City of the Lilies. They are always 
represented together, both in narrative pictures of 
their labors and their martyrdoms, and in votive 
pictures, and, in devotional works, they are gener- 
ally depicted in the Jong red robes and full round 
cap of the doctors and apothecaries of the twelfth 
and thirteenth centuries. Still one more curious 


89 





anachronism in art, for the brothers lived in the 
third century and died in the second year of the 
fourth. They are said to have been born in the city 
of AZgae in Cilicia, where stood at one time the 
temple of the healing god A‘sculapius, which was 
destroyed by the Emperor Constantine. Brought up 
in the Christian faith by their mother, Theodora, 
they became famed and beloved for their learning 


THE MADONNA, AS THE Virgo Sapientiae (SEE PAGE 35), EX- 
POUNDING A THEORY TO THE TWO APOTHECARY SAINTS, COSMO 
AND DAMIAN, WHILE THE DONORS AS TINY FIGURES KNEEL AT 
HER FEET. FROM A FINE PICTURE BY AGNOLO GADDI, (D. 1396), 
IN THE POSSESSION OF MR. OTTO KAHN (SEE PP. 16 AND 17) 


and their marvelous cures. But it availed them little 
when the persecutions under Diocletian and Max- 
imian—the tormentor of St. Catherine of Alexan- 
dria—raged through the Jand, and they were con- 
demned totortureanddeathasChristians. Firstthey 
were thrown into the sea, but an angel descended 
from Heaven and saved their lives. Nor would the 
flames, to which they were then committed, consume 
their mortal frames, and when at last they were 
bound to crosses and stoned, the stones fell back 
upon their oppressors and killed many of them. But 
finally they were delivered to the headsman who 
succeeded in depriving them of the lives which they 
had rendered so precious by their pious ministrations 
to the sick and their disinterested succor to all those 
in need thereof. From the fact that they are said 
never to have accepted payment for their services 
they are honored by the Greeks with the title of 
Anargyres, meaning “‘without money.” In 526A. D., 
Pope Felix built a magnificent church in Rome in 
honor of these Saints, in which there is a famous 
mosaic, depicting SS. Peter and Paul presenting the 


PLATE XXIX THE SAINTS IN ART 


SSK IN Cle lOlbyats 
Ore MY IWAS 
COSMO AND 
DAMIAN, 
CHRISTOPHER; 
AND ROCH 











1) The famous miracle of St. Nicholas of Myra, described on page 94, as depicted by Gerard David, in a picture belonging 
to Lady Wantage. 2) The Madonna enthroned between SS. Julian of Rimini and Nicholas, by Lorenzo di Credi in the Louvre. 
3) and 4) Further interpretations of the Miracle of the Three Children, No. 3 being by Bicci di Lorenzo (1373-1452) in the 
Metropolitan Museum. No. 4 is from an old MS. in the Bodleian Library at Oxford. 5) Relief statue of St. Christopher on the 
side of a house at Castiglione d’Olona (Courtesy of Mr. Dan Fellowes Platt). 6) Famous lunette by Fra Lippo Lippi, in the Na- 
tional Gallery, of (from left to right) SS. Francis, Lawrence, Cosmo, John the Baptist, Damian, Anthony of Egypt and Peter 
Martyr. 7) SS. Cosmo and Damian attaching a Moor’s leg to a sick man (page 91) by Fra Angelico, in the possession of 
Captain E. G. Spencer-Churchill. 8) Fine pierre noire drawing by Simon Vouet (French, 1590-1649), of St. Roch showing the 
ulcer on his thigh to a cherub. (Jn the collection of drawings belonging to the author.) 


90 


two apothecary Saints to Our Lord, while on the 
farthest edges of the picture are the Pope himself 
holding in his hand a model of the church, and the 
Emperor Theodosius (379-395 A. D.), of whom 
we have had occasion to speak in reference to 
St. Ambrose. (See Plate I, fig. 12.) Fra Angelico 
and Fra Lippo Lippi mtroduced these saints many 
times into their devotional pictures. A famous 
example by the latter master, now in the National 
Gallery and illustrated here, represents the two 
brothers on either side of St. John the Baptist, with 
from left to right, St. Francis of Assisi, St. Lawrence, 
St. Anthony of Egypt, the hermit, and St. Peter 
Martyr. He has also painted them with St. Francis 
and St. Anthony of Padua, two on each side of an 
enthroned Madonna, in the Florence Academy. In 
a case like this, or when they are with St. Sebastian 
or St. Roch, the inclusion of these two Saints indi- 
cates that the picture is a votive work offered in 
thanksgiving for restoration to good health, particu- 
larly from the plague. And although they occur 
very rarely in the later schools, both Titian and 
Tintoretto have brought them into pictures of 
thanksgiving for the delivery of Venice from the 
curse of the great plague of 1512. The picture by 
the former master in the Church of the Salute in 
Venice, displays the two doctors with SS. Sebastian 
and Roch grouped around the throne of St. Mark. 
Tintoretto’s work presents them with the three 
patrons of the Pearl of the Adriatic: SS. Mark, 
George and Catherine of Alexandria. 

Pictures of their lives are not uncommon either 
among Florentine artists of the Trecento and Quat- 
trocento. Fra Angelico has left us a series dealing 
with them, part of which is in the Florence Academy, 
and part, I believe, in the Dublin Gallery and else- 
where. In pictures of their miraculous healings the 
two Saints are always recognisable by their distinc- 
tive dress of scarlet and ermine, and they are fre- 
quently shown administering to the sick and some- 
times even acting as surgeons. One story relates 
how having amputated the leg of a man afflicted 
with cancer they replaced it with that of a Moor 
who had just been buried in San Pietro-in-Vinicole. 
It is this miracle to which reference is made when a 
black leg is being adjusted to a recumbent white 
man, by one or both of our two Saints, as in a picture 
by Fra Angelico, owned by Captain E. G. Spencer- 
Churchill. (Plate XXIX). 

Naturally, the early Florentine painters fre- 
quently chose as their subject the various attempts to 
put the two Saints to death, described above. Fra 
Angelico and Pesellino, as already stated, have given 
us their versions, of which the Louvre and the 
galleries above-mentioned contain interesting 
examples. In many of the earlier of these repre- 
sentations, three of their kinsmen who suffered with 
them are included. SS. Cosmo and Damian died 
together in the year 301 A. D. 

Sr. CHRISTOPHER, whose protection is invoked 


gI 


against accidents—his image is frequently borne on 
the radiator-caps of automobiles in France and 
Italy—was a Canaanite of gigantic stature, by the 
name of Offero, the bearer. Having sworn to serve 
only the greatest monarch on earth, one strong 
enough to fear no one at all, he set out one day to 
find him. The first to whom he applied showed that 
he feared the Prince of Evil for he crossed himself 
every time the dread name was mentioned. So 
Offero set out to take service under the Demon, but 
found that his new master, whom he had met march- 
ing at the head of a vast multitude along the high- 





A NARRATIVE ST. CHRISTOPHER, WITH THE CHILD JESUS ON HIS 

SHOULDERS, CROSSING THE STREAM. NOTE THE UPROOTED 

PALM-TREE, AND THE ORB OF SOVEREIGNTY IN THE HAND OF 

THE CHILD. PICTURE BY ANTONIO POLLAJUOLO (1429-1498) IN 
THE METROPOLITAN MUSEUM 


way, made a detour each time his path took him 
past a wayside shrine surmounted by a cross. And 
so Offero, learning that the Devil feared the Cross, 
left him and sought to enter the service of Him who 
had died on it. He went to a hermit who told him 
that if he wished to serve Christ he would have to 
fast often. As he objected that if he did so he would 
lose his strength, the hermit told him that he could 
also serve the Lord by using his great strength to 
help all those who desired to cross a wide river 
nearby, which was swift-running and swollen from 


the heavy rains. So Offero went and dwelt in a cabin 
by the side of the river, and using a palm tree which 
he had uprooted, as a staff, he bore across the stream 
all who implored his help. One night as he lay in his 
rough shelter, he heard a voice as of a child crying, 
“Come forth and carry me across.” Three times did 
the voice make itself heard, and when the Canaanite 
went out he beheld a little child whom he bore over 
to the other side of the stream in spite of a terrible 
storm which at times threatened to submerge him. 


Then the Child declared Himself to be the Saviour 





A DEVOTIONAL ST. CHRISTOPHER IN RICHLY-EMBROIDERED 

ROBES, WITH A symbolized PALM-TREE, AS INTERPRETED BY 

THE SPANISH PAINTER, ALONZO CANO (1601-1667), IN A PICTURE 
FORMERLY IN THE CATHOLINA LAMBERT COLLECTION 


of the World, and told the giant to plant his palm 
tree in the ground, which he did, and immediately it 
put forth leaves and fruit. From that day on the 
giant believed in Christ, calling himself Christopher, 
for, he said, “‘I have borne the Christ upon my 
shoulders.” But when he came to a place called 
Samos, wherein a persecution of the Christians was 
taking place, the Canaanite, instead of resisting 
arrest, submitted to torture and death, only praying, 
before the headsman did his work, that all those who 
might invoke his aid be henceforth immune against 
fire and tempest and earthquakes and disastrous 
floods. In consequence it became a strongly-rooted 
belief that any who looked upon the image of St. 
Christopher was for that day safe from such evils as 
he had made his particular province. And that is 
why we find such gigantic figures of this Samt on 


Q2 


the outside of so many churches and even secular 
buildings throughout Europe. Particularly is this 
the custom in southern Germany and the country 
around Venice, and such colossal figures are still to 
be seen on the exterior of the walls of more than one 
old English place of worship. (See Plate X XIX.) 

St. Christopher is almost always represented as 
a gigantic figure in a short tunic wading up to above 
his ankles in a stream, holding im his hand either a 
great pole or a palm tree with its feathery crest, and 
with the Christ Child on his shoulder. I say “almost 
always”’ for there are a few exceptions, notably a 
remarkable picture by Alonzo Cano, the Spanish 
painter, which is purely devotional, and m which 
both the saint and the Child are clad from head to 
foot in ample robes heavy with gold embroidery. In 
this interesting work, formerly in the Catholina 
Lambert collection dispersed in 1916 in New York, 
St. Christopher is portrayed as of rather less than 
the stature of a tall man, and, in lieu of his rude 
staff or palm-tree, he is holding a long thin wand 
banded with gold rings at regular intervals, and 
bearing at the top, not the leaves of a palm tree, but 
a bouquet of roses and foliage. Nor is the Child 
upon his shoulders. He is walking by the side of the 
Saint upon a path strewn with flowers, and holding 
him by the Ieft hand, while indicating the direction 
with the right. Two small angels hold open richly- 
woven curtains through which they have just passed. 
This picture is illustrated here, as is the great work 
by the Pollajuolo brothers, of the colossal size (9 ft. 
4 in. high by 4 ft. 11 in. wide) often adopted for 
pictures of this saint, and which is now one of the 
treasures of the Metropolitan Museum of New York. 
It is a fresco (on plaster) and the old Florentine 
disciple of Michelangelo, Vasari, says of it in his 
“Lives of the Painters” that it was painted for the 
Church of San Mimiato of Florence. Insome pictures, 
the hermit who imposed his famous task upon the 
Canaanite giant is seen with a lighted Iantern on the 
further bank of the stream. The pictures of St. 
Christopher present him as a man of the most power- 
ful type known to the artist, therefore while the 
Italians generally painted him with only a slight 
beard, the Germans gave him a heavy one, their idea 
of strength being expressed by the hairiness of the 
human body. His martyrdom has not often been 
painted, but a fine exception is the picture by Tinto- 
retto in the Madonna dell’Orto Church in Venice, in 
which, again, the saint is depicted not of gigantic, 
but of ordinary, proportions. Andrea Mantegna, the 
great painter of Padua, has left us a series of three 
pictures dealing with his famous passage of the river, 
his proselytising at Samos and his martyrdom, in the 
Chapel dedicated to him in the Eremitani, in Padua. 
St. Christopher died m 364 A. D. 

St. NicHoLas oF Myra, the last of the male pa- 
trons of Christendom, Is, however, the most popular 
and beloved of all, for he is the protector of children 
everywhere and of numerous classes of those who 


eA XOX THE SAINTS IN ART 


SOME SCULPTURED PORTRAYALS, 
PICTURES AND DRAWINGS OF THE 
PATRONS AND PATRONESSES 


1) St. Barbara, a carved oak statue of the Lower Rhenish School (c. 1520). 2) Masolino’s exquisite St. Catherine (detail) 
in the series of the young Saint’s Life in San Clemente in Rome. 3) Carved limewood half-length figure of St. Catherine, with 
her crown, book, and fragment of a wheel. A polychrome work of the middle 16th century Bavarian School. Upper right: 
St. Nicholas of Myra, with the three bags of gold, or balls, on his gospel. A polychrome limewood statue of the Upper Suabian 
School (c. 1500). 4) St. Catherine with two wheels, which is uncommon in devotional pictures, by Bernardo Daddi (c. 1340). 
5) St. Lawrence enthroned between SS. Cosmo and Damian, by Fra Lippo Lippi, in the Palazzo Alessandri, Florence. 6) St. 
Justina of Padua (not St. Barbara, as stated in the Academy catalogue) between SS. John the Baptist and Catherine, a draw- 
ing by Morto da Feltre (d. 1527),in the Venice Academy. 7) South German carved oak statue of St. George and the Dragon, 
dating from around 1500 A.D. 





93 


toil for their daily bread. As Mrs. Jameson says: 
“While knighthood had its St. George, serfhood 
its St. Nicholas.” He is the saint of the common 
people, the bourgeois classes, the protector of the 
weak against the strong, the poor against the rich, 
the guardian of all children, but particularly of those 
unfortunates who have lost their parents. No other 
male saint is so universally invoked as the good 
bishop of Myra, and we have even in this country 
a children’s magazine, of many years’ standing, and 


monastery of Sion, of which he rose to be abbot, 
and where he remained until he was appointed to 
the see of Myra. His acts of mercy and his miracles 
are numerous, but two particularly are depicted in 
Art. One is related thus: A certain man of position 
who had fallen upon evil days had three beautiful 
daughters whom, after all his efforts to provide for 
them had proved vain, he had decided to sell into 
slavery, not for his own gain, but that they might 
not starve. St. Nicholas, hearing of this, so arranged 





THE MADONNA AND CHILD, WITH FOUR SAINTS, WHO, READING FROM LEFT TO RIGHT, ARE SS. AUGUSTINE, PETER, ANTHONY OF 
EGYPT, WITH HIS cere CROSS, AND NICHOLAS OF MYRA, WITH THE THREE BESANTS, OR BALLS OF GOLD, AND CLAD IN EPIS= 


COPAL ROBES WITHOUT THE MITRE. 


a famous patriotic society in New York both bearing 
the name of the great patron. The proof of his 
extraordinary popularity is to be found in the fact 
that there are no less than 375 churches dedicated 
to him in England alone, as against only 170 to that 
country’s noble patron, St. George (including 4 in 
which he shares the honor with other saints). 

St. Nicholas of Myra—or as he is called in Italy, 
“of Bari’’—is the subject of many beautiful stories, 
mostly relating to his Iabors in the relief of the op- 
pressed. It is said that from birth he was predestined 
to a life of holy endeavor, for on the very day of his 
birth, he stood up in his bath with his hands joined 
in thanksgiving for the gift of life. He refused to 
feed at his mother’s breast on the appointed fast- 
days of the Church, Wednesdays and Fridays, and 


as soon as he was of an age to do so he entered the 


94 


FROM A PICTURE BY GIROLAMO DA SANTA CROCE (WORKED 1520-1549). 


(By permission of the Ehrich Galleries) 


matters that he was able to throw im through the 
window of the room in which the maidens slept—for 
he did not wish it known that he was the benefactor 
—first one, then a short time after, a second, and 
finally a third, bag of gold which relieved their dis- 
tress and enabled them to be honorably married. 
The other story relates that during a famine, a cer- 
tain innkeeper having no food to give travelers, used 
to steal and kill small children—another version says 
he killed some of his travelers—whom he pickled and 
served up as pork. St. Nicholas hearing of it went 
to the inn one day and making the sign of the cross 
over the vat of pickle, the three dismembered chil- 
dren lymg in it were made whole and restored to life. 
These two incidents may be said to have had a 
decisive influence on the characteristic aspect of St. 
Nicholas in art, for when he is not shown actually 


restoring the three children standing in vats, as in a 
predella in two sections by Bicci di Lorenzo—the 
other part represents the legend of St. Nicholas and 
the three maidens—he is represented with the three 
gold balls or bags of gold which he gave to the 
maidens. (Plate XXIX). 

Still another story relates how when the city of 
Myra was suffering from a terrible famine, St. 
Nicholas prevailed upon the captains of grain ships 
from Alexandria to cede to him part of their cargoes, 
although they were consigned to the Emperor at 
Constantinople. He assured them that the Em- 





ST. NICHOLAS OF MYRA (OR BARI) PRESENTS THE ORPHAN CHIL- 

DREN OF THE NOBLE RONCAGLIA FAMILY TO THE MADONNA. A 

THIRD CHILD IS BEHIND THE PATRON SAINT, PROBABLY SYM- 

BOLISING THE LEGEND REFERRED TO ON PAGE 94. PICTURE BY 

MORETTO (ALESSANDRO BONVICINO, 1500-1547) IN THE MAR- 
TINENGO GALLERY AT BRESCIA 


peror’s agents would lose naught of what was their 
due, and, behold, when the ships arrived at their 
destination, their cargoes were discovered to be 
intact. This episode has also been represented in art. 

In devotional pictures St. Nicholas is represented 
in episcopal robes, generally with his cope and mitre, 
but sometimes without a headdress, as in the Santa 
Croce picture on Page 94. But he almost mvari- 
ably has the three balls, or besants, signifying the 
three bags of gold he threw into the bedchamber of 
the three maidens. Frequently the three bags or 
balls are Iaid on a book, and sometimes they lie at his 
feet. An interesting picture by Moretto of Brescia, 
now in the Martinengo Gallery of that city, shows 
the charitable bishop presenting three small children 
to the Madonna who leans forward from her high 
throne to receive them. One of the children holds in 


95 


his hands the Saint’s mitre, while another holds the 
three balls. It should be noted that the three-balls 
sign of the pawnbroker, derives its existence from the 
famous legend of St. Nicholas of Myra. Ina picture 
by Lorenzo di Credi in the Louvre, St. Nicholas is 
found with St. Julian of Rimini, as joint protectors 
of the Adriatic cities. The bishop has no attributes, 
but his association with St. Julian identifies him 
sufficiently. 

Many other legends, in addition to those I have 
related, are told about St. Nicholas, but he is so 
easily distinguishable that it is unnecessary to do 
more than enumerate the most important. 1) His 
calming of the storm at sea when on the way to the 
Holy Land. 2) He saves three men from execution, 
seizing the sword of the executioner in his hands. 
3) He causes Constantine to release his imprisoned 
tribunes, calling down upon him the anger of Heaven 
should he fail to obey. 4) Constantine sends him a 
beautifully illuminated copy of the Gospels, in a 
binding enriched with pearls and precious stones. 
5) He smites the heretic Arius in the face at the 
great Council of Nice in 325. This story has not 
obtained a wide credence, on account of the known 
gentle nature of St. Nicholas—and the fact that his 
name Is not to be found im the list of those present 
at the Council—but as it has been depicted in art, I 
repeat it here so that when It is met with its signifi- 
cance may be clear. 

St. Nicholas died the next year, 326 A. D., and 
for nearly seven and a half centuries his remains 
reposed at Myra, though in the year 807, an unsuc- 
cessful attempt was made by a captain of Haroun-el- 
Raschid, the famous Caliph of Bagdad, to rifle the 
tomb. But, m 1084, some Ragusa merchants tried 
again and this time accomplished their purpose, 
carrying the holy relics to Bari where a splendid 
church was built over them and consecrated by Pope 
Urban II (1087-1099). It is from this fact that St. 
Nicholas of Myra is known in Italy, San Niccolé di 
Bari, or San Nicola di Bari. Venice claims to have 
stolen his remains—as they had stolen those of St. 
Roch—in 1100 A. D., when Vitale Michiele, the first 
of his famous line, was the Doge, but their story is 
not credited, and to Bari is given the honor of 
housing the bones of one of the most famous saints 
in Christendom. 

* * * 

Now we come to the Virgin Patronesses, of whom 
the first is the very beautiful and profoundly learned 
St. CATHERINE OF ALEXANDRIA. After St. Mary 
Magdalene she is the most popular of all female 
saints, and appears in innumerable pictures of all 
dates and schools. She can always be recognised in 
devotional pictures either by her crown, as a royal 
princess, and her handsome robes, or, when not so 
clothed, by her lovely thoughtful face and the book, 
and often the palm, which she is carrying. In most 
pictures, however, she has one of the two SpikKED 
WHEELS between which her pagan persecutors tried 


PLATE XXXI THE SAINTS IN ART 


UNUSUAL 
DEPICTIONS 
OF THE 
VIRGIN 
PATRONESSES 





ss ies 


1) St. Catherine of Alexandria, in glory, supported by angels, with the spiked wheels beneath her feet, by Pietro di Giovanni 
d’Ambrogio (1444), in the Louvre. 2) The celebrated “Chassz de Ste. Ursule.” (Reliquary of St. Ursula), by Memlinc, in the 
Hospital of St. John at Bruges (see pages 101 and 102). 3) SS. Catherine, Margaret, and Barbara, in a 15th century German 
picture, formerly in the Catholina Lambert collection in New York. 4) St. Barbara, by Lucas Cranach (1472-1553) in Dresden. 
5) St. Barbara, as patroness of builders, by Jan van Eyck, at Ghent. 6) St. Barbara, by the same Spanish artist who executed 
the St. Sebastian (Plate XXVIII. 3). 7) St. Catherine of Alexandria and twelve scenes from her life, by the 15th Century “‘ Mas- 
ter of the Life of St. Cecilia.”” Taking each column from top to bottom, starting at the left, we see her visit with Queen Sabinella 
to the Hermit who gave her a picture of the Madonna and Child; her dispute with the doctors; her dream; the Mystic Marriage, 
and, on the right, scenes of her martyrdom and her burial by the angels on Mount Sinai (see pages 95-99). 


96 


to Iacerate her body, but which were rent in pieces 
by the divine intervention before they touched her. 
Sometimes the wheels are shown intact, in order to 
symbolise her fortitude and determination to 
uphold the Christian faith even under the most 
inhuman tortures, e.g. by Bernardino Daddi, 
(PI. XXX). But usually, only a fragment of one 
spiked wheel, or a miniature wheel, is represented, as 
the attribute of her attempted martyrdom. She 
frequently carries a sword and a palm, the former as 
the instrument of her death, the latter emblematic 
of her self-sacrifice. One of the most frequent 
and well-beloved forms of the story and legend of 
St. Catherine, is that picturing the famous dream in 
which she was taken as spouse by Our Lord. In 
almost every case this “Mystic Marriage” of St. 
Catherme represents the young virgin saint offering 
her ring fmger to the Infant Christ who bestows the 
ring upon her. One of the most famous of all is the 
great Hans Memlinc picture in the Hospital of St. 





THE MYSTIC MARRIAGE OF ST.’ CATHERINE BY HANS MEMLINC 

(WORKED 1477-1496) IN THE METROPOLITAN MUSEUM. THE 

BROKEN SPIKED WHEEL LYING AT THE FEET OF THE VIRGIN 

PATRONESS IS HARDLY VISIBLE IN THIS REPRODUCTION. NOTE 

THE THREE-WINDOWED TOWER BEHIND ST. BARBARA ON THE 
RIGHT OF THE PICTURE 


Jean at Bruges in which St. John the Baptist and 
St. John the Evangelist, one standing on each side 
of the Madonna’s throne, look down upon the 
crowned princess kneeling before the Infant Jesus, 
to whom she is extending her finger. 

St. Barbara, who is the habitual companion of 
St. Catherine im pictures, is seated reading a book 
opposite the latter. An almost similar picture as far 
as the central group—without the two Saints John— 
is concerned, from the brush of the same master as 
the Bruges altarpiece, is in the Metropolitan Mu- 
seum. But perhaps the best-known, and certainly 
one of the most beautiful, renderings of this subject, 
is that by Correggio m the Louvre, which ts full of 
all the charm which makes that delightful master, 
at his best, so satisfying. How different its exquisite 


97 





CORREGGIO’S (1493-1534) VERSION OF THE MYSTIC MARRIAGE 

OF ST. CATHERINE IN THE LOUVRE. NOTE THE UNUSUAL REPRE- 

SENTATION OF ST. SEBASTIAN, HOLDING ARROWS IN HIS HAND, 
BEHIND ST. CATHERINE 


simplicity from the mannered pomposity and 
fussy composition of the Tintoretto version in the 
Ducal Palace in Venice, with its incredibly lengthy 
Madonna and Child, its regally-clad princess holding 
up her hand almost with condescension, and all its 
restless figures of mortals, saints and angels. Even 
the old unhappy-looking Doge, Pasquale Cicogna, I 
think, appears quite out of place and is looking away 
from the principal group, one of Tintoretto’s many 
cases of looseness of composition. Frequently St. 





THE MYSTIC MARRIAGE OF THE OTHER ST. CATHERINE, OF 

SIENA, THE FAMOUS DOMINICAN NUN, BY LORENZO DA SAN 

SEVERINO (Cc. 1483), IN THE NATIONAL GALLERY. THIS ST. 

CATHERINE IS INVARIABLY IN A NUN’S HABIT, WHEREAS THE 

ALEXANDRIAN PRINCESS IS ALWAYS RICHLY DRESSED AND 

GENERALLY CROWNED. THE THREE OTHER SAINTS ARE ALL 
DOMINICANS 





MORETTO OF BRESCIA HAS DEPICTED THE MYSTIC MARRIAGE 
WITH BOTH THE SS. CATHERINE, IN HIS GREAT PAINTING IN SAN 
CLEMENTE AT BRESCIA. ST. CATHERINE OF SIENA HOLDS HER 
DISTINCTIVE LILY. BELOW ARE SS. PAUL, WITH HIS SWORD, 
AND JEROME, AS A HERMIT. NOTE THE LARGE STONE. 


Catherine is represented with a book only, that is to 
say, without any other of her usual emblems and 
attributes, but her position in art Is so outstanding 
that it can be laid down as almost an mvariable rule 
that when a young female saint is depicted, in a 
devotional group of saints, in or without the presence 
of the Madonna, holding a book in her hand, she is 
intended to represent St. Catherme of Alexandria. 
In pictures of the Mystic Marriage, care must be 
taken not to confuse the Alexandrian princess with 
her namesake of Siena, who rememberimg the story 
of the first St. Catherine and inspired by a vision of 
Christ, upon his throne in a resplendent heaven, 
prayed to the Virgin Mary to bestow her Divine Son 
upon her. The future Dominican Saint was only 
eight years old at the time, but it is said she imme- 
diately made a vow of perpetual chastity, and later 
entered a convent of the Third Order of St. Dom- 
inick. It was necessary to give this short account of 
the Sienese nun, for ber mystic marriage with the 
Saviour is a popular subject also. But as she is 
always dressed in the habit of the Dominican nuns, 
in spotless white, with or without a black cloak over 
her habit, she cannot be mistaken for St. Catherine 
of Alexandria. (See Pages 97, 121, 132.) In the great 
Moretto picture above, in San Clemente of Brescia, 


98 


the artist has depicted the two Saints Catherine, one 
on either side of the Madonna and Child. The 
Divine Infant is bestowing the ring upon the prin- 
cess, while His Mother presents the lily of purity 
to the kneeling Dominican. It may be observed here 
that when the catalogue of a gallery, or the title of a 
picture mentions St. Catherine alone without any 
other title, it is the learned princess of Alexandria 
who is meant. St. Catherine of Siena is always given 
her fullname. There is still another of the same name 
in the calendar of Saints, St. Catherme of Bologna or 
Caterina dei Vigri, but firstly she was a nun of the 
Poor Clares and is portrayed either in the brown 
habit of the Franciscan Order, (see page 131) or 
in the rich robes of an aristocrat which distinguish 
her immediately from either of the other saints. 
Secondly, she was only canonised in the seventeenth 
century so that she is never found in any early pic- 
tures. Thirdly, she had but little importance save 
in Bologna, where, however, she was worshipped for 
nearly two centuries before her elevation to the 
status of a saint, under the name of La Santa. 

Inregardtonarrative pictures of thelife and career 
of St. Catherine—for the Mystic Marriage having 
been only a dream comes under the heading of devo- 
tional works—Masolino has left us a remarkably 
beautiful series m the Church of San Clemente in 
Rome. In their order the pictures represent: 1) Her 
famous discussion with the fifty learned doctors sent 
by Maximian to confound her and over whose most 
convincing sophistries she triumphed. Through an 
open window are seen the same philosophers standing 
in a blazing fire, with the young saint exhorting them 
to be steadfast as they suffered martyrdom for the 
new faith to which her brilliant reasoning had con- 
verted them.* 

2) St. Catherine, pointing upwards to the statue 
of a nude goddess, exhorts the pagan patricians to 
renounce the worship of such idols. 

3) St. Catherme, through the window of her 
prison, converts the Empress who is seated on a 
stool before her. To the right, the converted sover- 
eign is beheaded, and above her prone and headless 
form can be descried an angel bearing her released 
soul to the Heaven to which she has now gained 
admittance. 

4) The beautiful young Patroness clad in a Jong 
simple gown is standing in an attitude of prayer 
between the two horribly spiked wheels.- One has 
already broken asunder while an angel is descending 
upon the other and is smiting it with a sword. 

5) She kneels on the ground, while an executioner 
with upraised sword is about to strike off her head. 

*This custom of depicting several scenes relating to the 
main theme was a very common one among early artists, and 
was continued even down to the end of the Cinquecento, for 
Titian in his celebrated “‘ Pilgrims of Emmaus” in the Louvre, 
shows them on the road outside the house where they were 
supping with the apparition of Our Lord. The Albertinelli 
“Madonna with SS. Jerome and Zenobius,” also in the 
Louvre, again shows various episodes of the life of the two 


Saints, in the background of the picture. In earlier art there 
are hundreds of similar examples. 





THE BURIAL OF ST. CATHERINE BY THE ANGELS, ON THE SUMMIT OF MT. SINAI, BY BERNARDINO LUINI (1475-1531), IN THE BRERA 


OF MILAN. 


In the sky an angel is waiting to receive her spirit, 
and in the upper right-hand corner, others are laying 
her mortal remains to rest in a beautiful sarcophagus 
on the summit of Mount Sinai. 

Mrs. Jameson attributes this series to Masaccio, 
but while certain of the heads may be ascribed to the 
first great painter after Giotto, there can be no doubt 
that the whole conception and the greater portion of 
the execution are the work of his master, Masolino. 


- Sr. Barpara, like all the Virgin Patronesses,: 


except St. Ursula, was an Eastern Saint, who became 
extremely popular in-France, Flanders, and Northern 
Germany, as Is reflected in the products of their 
schools of painting, sculpture and stained glass. The 
story goes that she was the beautiful daughter of a 
certain noble of Heliopolis, near Alexandria, who 
became converted to Christianity when confined to 


a tower for study and meditation and to protect her: 


from the temptations of the world, and that when a 
special chamber was being built for her by her 
father, she ordered the workmen to put in it three 
windows as a symbol of the Holy Trinity. Her angry 
father attempted to slay her, but she fled to the top 
of her tower, where angels hid her from: his view 
and bore her away to a place of safety. Betrayed 
by a shepherd, she was denounced by her father to 
the Roman pro-consul, who condemned her to ter- 
rible tortures, but she refused nevertheless to abjure 
her new religion and finally was beheaded by her un- 
natural parent upon the top of a nearby mountain. 

St. Barbara is one of the noblest figures among 
the female martyrs for the Faith. She is habitually 
represented in a rich habit, and very frequently 
crowned, but unlike those of SS. Catherme and Ursula 
her crown is not that of royal rank, but the emblem 
of martyrdom. Her chief attribute is the TowErR 
which has generally three windows, but sometimes 


99 


THE ANGELS IN THIS PICTURE ARE ALMOST UNEQUALLED IN ART FOR TENDERNESS AND LIGHTNESS IN THE AIR 


has less. Frequently none are seen clearly, as 
in the Moretto picture in San Clemente, Brescia, of 
the Four Great Virgins of the Latin Church and St. 
Barbara, who is Jeaning on her tower. Holbein has 
given us a beautiful picture of the second Patroness 
—now in the Munich Gallery of Old Masters—in 
which she is portrayed in a blue gown embroidered 
with gold, over a 
white underdress, 
and covered by a 
brilliant red mantle 
falling from her left 
shoulder. She is 
crowned and holds a 
chalice, with a wafer 
suspended immedi- 
ately above it, in her 
two hands. Her 
tower is to the right, 
treated as an actual 
buildmg im. correct 
perspective and pro- 
portions. Instead of 
bemg a symbolic 
model—analogous to 
the Church model in 
the hands of St. 
Jerome and that of 
Bologna carried by 
St. Petronius—as in 
the Moretto picture 
first cited, orn Mem- 
Iinc’s figure of St. 
Barbara on one of 
the wings of his great 
“Descent from the 
Cross” triptych in 





ST. BARBARA, BY HOLBEIN THE 
YOUNGER (1499-1544), IN THE 
MUNICH GALLERY. HER TOWER IS 
IN THE BACKGROUND, WHILE SHE 
HOLDS THE CHALICE SURMOUNTED 
BY THE HOST IN HER HANDS 


Bruges Hospital, it is an attribute of her actual life. 
But the most famous of all pictures of St. Barbara Is 
that of Jacopo Palma the Elder—Palma Vecchio— 
in the Church of S. Maria Formosa in Venice, in 
which the beautiful maiden, a splendid majestic 
figure, is depicted m a rich brown tunic with a 
crimson mantle, and a spiked crown from which is 
hanging a white veil. A large architectural tower 
stands in the background, but St. Barbara herself 
simply holds a palm-branch in her right hand. 





JACOPO PALMA, il Vecchio (1480-1528), IN HIS PICTURE IN S. 
MARIA FORMOSA IN VENICE, HAS GIVEN US THE NOBLEST RE- 
PRESENTATION EXTANT OF THE SECOND VIRGIN PATRONESS 


100 





ST. BARBARA, AS THE PATRONESS OF THE CARTHUSIAN 

WHO HAD THE PICTURE PAINTED, IS THE SUBJECT OF THIS FINE 

WORK BY THE FLEMING, PETER CHRISTUS (1444-1472), IN THE 

BERLIN MUSEUM. HERE, IN ADDITION TO HER TOWER, ST. 
BARBARA CARRIES HER MARTYR’S PALM 


MONK 


Certain German pictures give St. Barbara a pea- 
cock’s feather, in reference to the legend that the 
rods with which her father scourged her were turned 
to feathers. The lovely female samt in Raphael’s 
great “Sistne Madonna” is again St. Barbara, 
richly-dressed, uncrowned, save for a dainty circlet 
around her brow. (See Plate.) 

Narrative pictures of the life and death of St. 
Barbara are rare, but when they are found, they are 
easily recognisable from the excerpt of her legend as 
given above. She Is, however, seen, with or without 
St. George, on arms and armor, in her capacity of 
patroness of firearms, and sometimes, as in the 
famous suit of plate-armor sent by the great Em- 
peror Maximilian to Henry VIII of England, now in 
the Tower of London, there is depicted a series relat- 
ing to her career and that of St. George. The designs 
are attributed to Hans Burgkmaier. ~ 


* * * *k * * * * 


The Legend of Sr. Ursurta and her “Eleven 
Thousand Virgins”’ is one of the great subjects of 
the Venetians, particularly Carpaccio, who painted 
a series relating to it; the Flemings, notably the 
author of the famous Reliquary of St. Ursula (Chasse 
de Sainte Ursule) in the Hospital of St. John at 
Bruges, and the Germans, especially the masters of 
the Cologne School. The story is so well-known as 
to require only a brief reference to it here. Saint 





CARPACCIO’S (1450-1522) FAMOUS PAINTING, IN THE VENICE 
ACADEMY, OF ST, URSULA, SURROUNDED BY HER MANY MAIDENS. 
THIS IS A TYPICAL VOTIVE PICTURE, IN HONOR OF THE SAINT. 
NOTE THE FIGURE OF THE ALMIGHTY WITH HIS ARMS EXTENDED 
IN BLESSING OVER THE SAINTLY GROUP OF MARTYRS 
(SEE PAGE 102) 


Ursula was a Princess of Brittany noted for her 
great beauty, modesty, and Jearning. Her hand was 
sought in marriage by the son of the King of 
Britain, but she only accepted on condition that he 
fulfill three desires of her heart: 1) that Prince 
Conon, her suitor, would provide her with ten 
virgins, chosen from the most beautiful and nobly- 
born of his father’s kingdom; a thousand other 
maidens as companions to each of the ten; and a 
thousand for her own service;.2) that the marriage 
be postponed for three years, during which time the 
eleven thousand virgins could visit the shrines 
of the saints throughout the Christian world; 
3) that the Prince and his whole suite, including 
the maidens, become converted to Christianity. 

King Ag- 
rippimus and 
Tish sO 0; 
Prince Con- 
on, agreed to 
these terms 
and _ provid- 
ed the maid- 
ens asked 
for. Then 
Ursula and 
her com- 
rades set sail 
for Rome, 


but were BERLIN MUSEUM. 





FRA LIPPO LIPPI’s (1412-1469) Madonna della Misericordia (LADY OF MERCY) IN THE 


NOTE THE RESEMBLANCE OF STYLE WITH THE MEMLINC ST. URSULA 


IOI 


blown into the mouth of the Rhine as far as Cologne. 
Thence under great difficulties and privations they 
made their way to Rome where St. Sericius receiv- 
ed them, and, when they had visited the shrines of 
SS. Peter and Paul, set out with them, accompanied 





ST. URSULA CASTING THE SHELTER OF HER MANTLE OVER HER 

11,000 VIRGINS. NOTE THE PROPORTIONATELY COLOSSAL SIZE 

OF THE SAINT, AND HER ARROW. ONE OF THE ENDS OF MEM- 

LINC’S WORLD-RENOWNED Chasse de Ste. Ursule, iN THE HOS- 
PITAL OF ST. JOHN AT BRUGES 


by two of his cardinals and several bishops, for Co- 
Iogne, where, on her previous visit, it had been re- 
vealed to St. Ursula she would receive her martyr’s 
crown. The object of her journey becoming known 
to the pagan captains in Rome, who feared that 
such a band of maidens would convert the whole 
German 
nation to 
Christianity, 
they ordered 
the captain 
of the Huns 
who were 
besieging 
Cologne to 
destroy the 
wholeassem- 
bly. And so 
it happened. 
The Prin- 


cess and her 


betrothed—who had joined her in Rome and re- 
ceived the sacrament of baptism at the hands of the 
Pope—with all their companions, were surrounded 
by a host of barbarians who shot with arrows or 
slew with the sword all the noble maidens. They suf- 
fered bravely, and finally, after Prince Conon, whose 
baptismal name was Ethereus, and all the prelates, 





ANOTHER OF THE PANELS OF MEMLINC’S Chasse de Ste. Ursule 


AT BRUGES. IT REPRESENTS THE MARTYRDOM OF THE YOUNG 

PRINCESS AT THE HANDS OF THE BARBARIANS AT COLOGNE, OF 

WHICH THE UNFINISHED CATHEDRAL MAY BE SEEN IN THE 

BACKGROUND. THERE ARE ALTOGETHER EIGHT PANELS IN THE 
FLEMISH MASTER'S FAMOUS RELIQUARY 


had perished, a soldier flew three arrows at St. 
Ursula and “transfixed her pure breast, so that she 
fell dead, and her spirit ascended into heaven, with 
all the glorious sisterhood of martyrs she had led to 
death ... and there with palms in their hands and 
crowns on their heads, they stand around the throne 
Of Christ mae 

The distinctive character of this legend, particu- 
larly the band of maidens who accompanied St. 
Ursula on her pilgrimage, make it unnecessary for 
us to go Into any details concerning narrative pic- 
tures of her life and legend. Care must be taken, 
however, to differentiate between the pictures of the 
Virgin Mary in her role of Madonna della Miseri- 
cordia when she sometimes covers a number of figures 
with her cloak as in the Fra Lippo Lippi panel in the 
Berlin Museum, (See Page 101) and those of St. 
Ursula, e. g., the end panel of Memlinc’s St. Ursula 
Shrine at Bruges, in which the Virgin Patroness 


102 


is surrounded by a number of maidens whom she is 
sheltering beneath her mantle.* (See page 101.) 

Devotional pictures of St. Ursula are numerous. 
In the Venice Academy there is a beautiful work by 
Carpaccio, who might be called the official painter 
of this saint, in which she stands upon a pedestal of 
palms surrounded by six angels and a Iarge number 
of maidens kneeling at its base. A banner, of which 
the pole is surmounted by a Greek cross, stands 
unfurled on each side of her, and above, the AI- 
mighty is leaning out “‘from the gold bar of Heaven” 
with His arms extended im the attitude of benedic- 
tion. This picture and all those other remarkable 
works by the Venetian Master, now in the Academy, 
were painted in 1490 for the school of St. Ursula, 
founded for the support and education of orphan 
girls. Moretto of Brescia has depicted her standing, 
crowned, and holding two banners of St. George, 
each surmounted by a cross, in her hands, while a 
large group of maidens is gathered round her. In 
this picture she has no arrow, which is her almost 
universal attribute in art; nor indeed has she in the 
Carpaccio picture, in which she is bareheaded, 
though two angels are holding a crown of martyrdom 
above her head. She generally wears a royal crown as 


a princess of Brittany. In the Memlinc panel repro- 


duced on page 101 she is portrayed witha delicate dia- 
dem of pearls fitting close to her tightly-drawn hair. 


* * * * * * 


-And now we come to the last of the Virgin 
Patronesses, St. MARGARET OF ANTIOCH, whose name, 
meaning “pearl,” has been given, as we know, to 
that floral symbol of purity and humility, the daisy. 
She was once so popular in England that 238 
churches are dedicated to her; indeed she is only 
surpassed in this respect by two other saints, St. 
Nicholas with 375, and St. Lawrence with 250, and 
only approached by two more, St. George with 170 
and St. Martin of Tours, he who divided his cloak 
with a beggar, in whose honor there are 165 churches 
in Great Britain. 

St. Margaret, like St. George, was stricken from 
the Calendar of Saints by Pope Gelasius in 494 A.D., 
which testifies to the antiquity of her legend, and 
only came back to the West in the 11th century 
when the Crusaders returned to their homes. The 
wife of Malcolm III of Scotland, a Hungarian prin- 
cess, born in 1046, was the first historical Mar- 
guerite of standing. She also was canonised and so 


*In regard to the eleven thousand virgins, it has always 
been a matter of discussion as to what can have been the 
origin of this estimate of St. Ursula’s company. One explana- 
tion which sounds very plausible is that when Archbishop 
Hermann of Cologne wrote about this saint in 922, he mistook 
the old figures XIMV, for 11000 Virgins, whereas it may 
have meant 11 Virgin Martyrs—Undecem Martyres Virgines— 
which is a more probable number, for the transport of eleven 
thousand maidens in those early days was a bigger matter 
than could have been handled easily. Another version is that 
St. Ursula had only one companion, whose name was Undeci- 
milla, which means eleven thousand, but this is less probable 
for the commentator would have written Virgin Martyr after 
her name, thus XIMMYV, not with one M only. 


popular that the name become a favorite one 
throughout the British Isles. 

In devotional pictures, St. Margaret is always 
represented with a dragon either dead at her feet or 
prostrate but alive, with its mouth open. In one or 
two rare instances, the dragon is replaced by the 
Demon, for in her case more than in that of St. 
George, the dragon is the emblem of the temptations 
which beset her, and particularly, says the story, of 
the visit of the Prince of Evil himself in the mon- 
strous form-of a dragon, to the dungeon in which 
she was confmed. The legend relates that he swal- 
lowed her whole—which is the cause of the open 
mouth in art—whereupon he burst asunder, after 
which he tried again to tempt her, this time in 
human form. AII these incidents are depicted in art. 
Some of the most famous pictures of St. Margaret 
are those by 1) Raphael, in the Louvre, painted in 





ST. MARGARET, WITH HER DEAD DRAGON AT HER FEET. FROM 
THE PICTURE BY RAPHAEL IN THE LOUVRE 


honor of the great Queen of Navarre, for her grateful 
brother, Francis I; 2) Tintoretto, in the Ducal 
Palace at Venice, in which she is accompanied by 
St. Louis of Toulouse and St. George, who has no 
dragon, but is shown in plate armor, with a broken 
lance at his feet and his white charger behind him; 
3) The Master of the St. Bartholomew Altar—now 
in the Munich Gallery—where she is with St. John 
the Evangelist. In this picture the dragon holds 
part of her mantle in its mouth, indicating that it 


103 


has swallowed her whole, while from the general 
appearance it looks as though St. Margaret was 
coming forth from the burst body of the monster. 
Lucas van Leyden has painted a similar subject in a 
picture also in the Munich Gallery of Old Masters. 

Historical pictures of St. Margaret represent the 
main incidents of her life and her martyrdom as 
follows: 1) She is keepmg the sheep which belonged 
to her nurse, when the Caesarean ruler of Antioch 
sees and covets her. 2) She announces herself to be 
the servant of Christ. 3) She is thrown into prison 
and comforted by the Holy Ghost in the form of a 
Dove. 4) She is tortured with forks and barbed 
prongs as she hangs suspended from a gibbet. 5) She 
conquers the Demon or Dragon. 6) She is cast into 
a cauldron of boiling pitch. 7) She is beheaded. 


* *K * 


And now the Four Great Virgins of the Latin 
Church—their official title—SS. Cercitia, AGNEs, 
AcaTua and Lucia, who stand out on account of the 
heroism with which they braved the wrath of the 
pagan rulers, and the fortitude with which they bore 
the most abominable humiliations and tortures and, 
finally, death, in defence of their chastity and their 
faith in the new religion of Jesus Christ. Unlike the 
Virgin Patronesses, who, with the exception of St. 
Ursula, were, as we have already stated, Greek saints, 
they are not universally considered throughout 
Christendom, but only in the Roman church and 
the Reformed Church of England. The Virgin 
Patronesses are worshipped in the Greek and Rus- 
sian Orthodox Church, as well as in the Roman, but 
only St. Catherine and St. Margaret are included 
in the Protestant Episcopal Calendar of Saints. 

Sr. Cecixia was of patrician blood, whose parents 
were among those numerous Romans—St. Sebastian 
was another—who professed Christianity secretly, 
making at first no open show of their conversion. 
Having a special gift for music, she composed hymns 
and invented the organ, which she consecrated to 
the glory of God. She was married to a young noble, 
who, like herself, was of virtuous character, and who 
not only respected the vow of perpetual chastity she 
had made when a child, but also became a Christian, 
was baptised by St.. Urban, and suffered martyrdom 
with his brother Tiburtius and a centurion named 
Maximus, whom they converted while under his 
charge in prison. AII three were canonised and are 
buried in the cemetery of St. Callixtus. A Roman 
prefect named Almachius, coveting St. Cecilia and 
her wealth, called upon her to renounce her faith, 
and upon her scornful refusal caused her to be cast 
in a bath of boiling water in her own house, from 
which, however, she emerged uninjured. Thereupon 
she was ordered to be beheaded, but the execu- 
tioner’s hand trembled so violently that, though he 
struck at her three times, she lived, terribly wounded, 
for three days. St. Cecilia’s house in Rome was con- 
secrated as a church, at her own request, and the 





THE FOUR GREAT VIRGINS OF THE LATIN CHURCH AND ST. 
BARBARA, BY MORETTO, IN SAN CLEMENTE AT BRESCIA. 
IT IS A VOTIVE PAINTING IN HONOR OF ST. CECILIA, AFTER 
WHOM IT IS NAMED. THE SAINTS ARE, READING FROM LEFT TO 
RIGHT: (ABOVE) ST. AGATHA, AND ST. AGNES WITH HER LAMB. 
(BELOW) ST. LUCIA, ST. CECILIA, AND ST. BARBARA 
bath chamber is now the chapel of it. The heating 
apparatus still exists, for the church was repaired 
and decorated anew in the 16th century. St. Cecilia 
is almost always represented with musical instru- 
ments in pictures painted since about 1400 A. D. 
Prior to that she was depicted with a crown of 
martyrdom, holding a gospel. In groups of saints 
such as the Coronation by Fra Angelico m the 
Louvre, St. Cecilia is frequently shown with a 
wreath of red and white roses on her head. In this 
particular picture she appears kneeling opposite St. 
Nicholas of Myra right in the foreground with her 
back turned to the spectator. She has no musical 
attribute. Care must be taken in such cases not to 
confuse her with St. Dorothea of Cappadocia, who 
usually carries roses in a fold of her dress and a book. 
One of the best known paintings of St. Cecilia is that 
by Raphael m the Bologna Museum reproduced on 
page 16, where it is fully explained. In the picture 
by Moretto of Brescia, illustrated above where 
the four Latin Virgins are assembled with St. Bar- 
bara, and in which St. Cecilia is the central figure, 
she is shown holding a miniature organ under her 
arm. In theBartholomewAltar in Munich she stands 
with the Apostle and St. Agnes, playing a minia- 
ture organ upheld by an angel. The famous wing of 
the “Adoration of the Lamb” altar-piece by the 


104 


Van Eyck brothers at St. Bavon’s at Ghent shows St. 
Cecilia playing an organ as a pendant to the equally 
famous angel choir. (See Plate XVIII). Pictures 
of the martyrdom of St. Cecilia can be recognised 
from our short account of her sufferings and death. 

Sr. AGNEs, the second of the Latin Virgins, is 
always, I think, represented with a lamb, the symbol 
of innocence and meekness, and frequently with a 
palm and a crown of martyrdom. (Plate VI.) Her 
legend is one of the most ancient and authentic in 
ecclesiastical history, and the Church of St. Agnes 
in Rome is said to have been built early in the 4th 





ST. CECILIA AT THE ORGAN SHE IS SAID TO HAVE INVENTED, 

SURROUNDED BY ANGEL MUSICIANS. ONE OF THE WINGS OF 

THE ADORATION OF THE LAMB ALTAR-PIECE AT GHENT, BY THE 

VAN EYCK BROTHERS (1366-1426 AND 1390-1440). THIS PIC- 

TURE WAS FORMERLY AT BERLIN BUT WAS RETURNED TO 

BELGIUM IN IQIQ WITH OTHER PORTIONS OF THE VAN EYCK’S 
MASTERPIECE 


PLATE XXXII THE SAINTS IN ART 


























_SOME WELL-KNOWN PICTURES 
|| OF SAINTS LUCIA, CECILIA, 
AGNES, AND DOROTHEA 





























1) St. Lucia, by Carlo Dolci (1616-1686) in Florence. Note the rays of light issuing from the wound in her throat, in reference 
to the meaning of her name. 2) The Madonna, between SS. Dorothea, of Cappadocia—also the birth-place of St. George—and 
Agnes, whose distinctive lamb, again in reference to her name, is lying at her feet. St. Dorothea, who was an early Greek Virgin 
Martyr is always shown with a basket or bow] of fruit and red and white roses, which she is frequently offering to the Madonna 
or Child, as depicted here by the unidentified German master of the Holy Family (Meister der Heiligen Sippe), in the Wallraf- 
Richartz Collection in Cologne. 3) It is hard to believe that this gross richly-costumed, sentimental creature painted by 
the famous Fleming, Peter Paul Rubens (1577-1640), in the Berlin Gallery, is intended to be the dainty ethereal martyr, St. 
Cecilia. An excellent example of degradation in Art, after the end of the Cinquecento. 4) Although this charming picture by 
Francesco Ubertini, (Bacchiacca), in the collection of Mr. Dan Fellowes Platt, is called St. Agnes, and might quite well be so, 
(see page 106), we believe it is actually intended as a devotional representation of the Magdalene, inspired by the picture by 
Timotei Viti (see page 70) for the Lamb of the Virgin Patroness is not present. (Courtesy of the Ehrich Galleries). 


105 


Century by Constantine the Great over the very 
spot where she died. The mosaic showing the young 
saint with Popes Honorius I (626-638 A. D.), who 
built the edifice, and Symmachus (498-514 A. D.), 
the former holding a model of the Church, and the 
latter a book, is still mm existence and should be 
visited by all lovers of Christian art who find them- 
selves in the Eternal City. Next to the Evangelists 


into a dungeon, still without raiment, she again 
prayed for succor, whereupon an angel descended 
from Heaven and wrapped a shining cloak around 
her virginal form. (See Plate VII.) The son of Sem- 
pronius entering her cell was stricken with blindness 
as he gazed irreverently upon her, but, movedto pity, 
she prayed for his recovery and her prayer was 
granted. For this the people called for her punish- 





THE CENTRE PANEL OF THE BARTHOLOMEW ALTAR-PIECE BY THE ANONYMOUS GERMAN PAINTER, KNOWN AS THE “MASTER OF THE 


BARTHOLOMEW ALTAR,” IN THE MUNICH GALLERY. 
ATTRIBUTE (SEE PAGE 59). 


THE APOSTLE HOLDS A GOSPEL AND THE LARGE KNIFE WHICH IS HIS PARTICULAR 
AT THE LEFT IS ST. AGNES WITH HER LAMB AND BOOK, AND, AT THE RIGHT, ST. CECILIA 


WITH THE MODEL OF AN ORGAN 


and Apostles, St. Agnes is the earliest Saint to appear 
in Art. In devotional pictures she is unmistakable 
by her youth and innocence and her Iamb and book, 
while pictures of her martyrdom are sufficiently dis- 
tinctive to permit of no confusion with other female 
saints. Having taken a vow of chastity and of devo- 
tion to the service of Our Lord, she was pursued by 
the desires of the son of the prefect Sempronius. The 
youth fell sick and was like to die unless the maiden 
would consent to marry him, as he had requested of 
her parents. Semprontius tried to bring her back to 
the faith of his pagan gods and to consent to a union 
with his son, but upon her refusal became violently 
angry, caused her to be loaded down with chains and 
exposed unclothed to the soldiers and the multitudes. 
But as her garments were torn off her she prayed to 
her God, who caused her hair to grow instantly and 
fall as a cloak around her. Then when she was cast 


106 


ment as a sorceress and the ungrateful prefect 
caused her to be flung into a fire which left her 
unscathed. Thereupon the people more convinced 
than ever that the maiden was a witch, clamored 
still more loudly for her blood, and again yielding, 
Sempronius ordered the executioner to behead her 
as she stood upon the harmless pile of blazing fagots. 
She was buried in the Via Nomentana where she is 
said to have appeared to her parents in a vision and 
told them that she was seated on a throne in Heaven 
close to Him to whose service she had devoted her 
life. All these incidents are portrayed in narrative 
pictures of St. Agnes, which have ever been popular, 
particularly with Roman women. Perhaps the best 
known are those by Tintoretto in the Madonna dell’ 
Orto Church in Venice, Domenichino’s dramatic 
work in Bologna, and Ribera’s famous picture, repro- 


duced on Plate VII of this book. 


The martyrdom of St. AGATHA is so particularly 
painful and oppressive even in pictures that it has 
been represented in art comparatively seldom. Her 
history relates that she was a native of Catania in 
Sicily, where the wicked Emperor Decius placed his 
creature Quintianus as King, with orders to put all 
Christians to the sword. He did this to justify his 
murder of his predecessor, Philip, who was a Chris- 
tian, but whose throne he had coveted to gratify his 
own overweening ambition. The beauty of the 
maiden, Agatha, fired him with evil lusts, and he 
attempted in many unmentionable ways to possess 
himself of her. Failing, in spite of all, to achieve his 
object, he abandoned himself to a frantic rage 
against the girl, and ordered that her breasts be 
severed from her body, which was done, but in the 
night St. Peter and an angel appeared to her in a 
vision and healed her wounds with ointment. Then 
she was thrown into a fire, but an earthquake rocked 
the city, and the inhabitants, laying the blame to the 
cruel tortures to which St. Agatha had been sub- 
jected, obtained her release. But she died almost 
immediately from her frightful myjuries. AII this 
happened in the early years of Christianity, as early 
as 253 A. D. It is related that in 1551, the Turkish 
infidels were prevented from capturing Malta by the 
intervention of St. Agatha and that is the reason for 
her being the patroness of the small island in the 
Mediterranean. In devotional pictures she Is gen- 
erally depicted holding a female breast, or some- 
times a pair, in her hands or on a platter, as in the 
Moretto picture on page 104. She is also seen in 
some works holding a pair of shears and wearing 
the veil, which was wound about her bosom 
after her torture. Of pictures relating to her 
actual martyrdom, I know none which belong to 
what we might call the sincere period in art. Those 
that do exist such as the famous Sebastiano del 
Piombo canvas, in the Pitti Palace, and the awful, 
dramatic, representation of the suffering maiden by 
Tiepolo, in the Berlin Museum, are all of a late 
school, when the painters took advantage of the 
opportunity, comparatively rare in sacred art, of 
presenting the nude female form in all the splendor 
with which they were able to endow it. In the pic- 
ture by Callisto da Lodi, a huge canvas over the high 
altar of the church dedicated to St. Agatha in 
Brescia, she is seen hanging upon a cross, with only 
a few drops of blood upon her veiled bosom to indi- 
cate the mode of her suffering. 


The last of the Four Great Virgins, St. Lucta, or 
Lucy, was, like her companions in the Church 
hierarchy, pursued by the evil designs of the ruler 
of the province in which she lived, and resisted them 
in spite of all the tortures to which she was sub- 
jected. She was very wealthy, and at fourteen years 
of age was betrothed by her mother to a young 
pagan, but her secret vow of chastity was, owing to 
a miracle which convinced her mother, respected, and 


107 


St. Lucy was permitted to sell all their possessions 
and give the proceeds to the poor. This enraged her 
suitor so much that he denounced her as a Christian 
to Pascasius, the prefect of Syracuse, who had re- 
ceived orders from the monstrous Diocletian to 
exterminate the followers of the new Faith in his 
province. Previously, however, as the young pagan 
complained that the chaste maiden’s eyes haunted 
him at all times, she deliberately tore them out and 
sent them to him on a platter. This incident is re- 
ferred to when St. Lucia is shown, as she generally 
is, with a pair of eyes on a dish (see our illustration, 
page 104). Pascasius tried his utmost to induce her 
to sacrifice to the gods, but in vain, and upon her 
definite refusal, resorted to the then common device 


Al 


4S cette, ints 


- = _ 
srk i ee a 





ST. LUCY REMAINS IMMOVABLE AGAINST THE PULLING OF FOUR 
OXEN. A PICTURE BY LORENZO DI NICCOLO (1370-1440) IN 
THE METROPOLITAN MUSEUM OF ART 


of sending this pure maiden to a house of ill-fame. 
She was, however, shielded from defilement by the 
miraculous strength which was given her, and Pas- 
casius ordered her to be slain with the sword. But 
when the executioners came to lead her to the place 
of suffering, neither they nor a double team of oxen 
could move her from where she stood—symbolising 
the power of Christian resistance to evil—nor could 
a fire lit around her move her, until finally a soldier, 
desirous of pleasing the infuriated prefect, thrust a 
dagger into her throat, whereupon her soul was 
released. 

In devotional pictures, St. Lucy is shown some- 
times with a wound in her throat from which issue 
rays of light as in the famous Carlo Dolci picture in 
the Florence Academy. She ts frequently seen with 
a lamp, in reference to her name, Lucia, derived, it 
goes without saying, from the Latin lux, 1. e., light. 
But her usual attributes are either a dagger, or her 
eyes, sometimes on a platter, as in the Moretto pic- 
ture of the Four Virgins, or, as in a curious work by 
Zenale in the Church of S. Martino at Treviglio, 
with her two eyes impaled on a skewer with a bottle- 
shaped handle. Lorenzo di Niccolo (1370-1440) 
painted an interesting though naif series of four 
scenes from the life of St. Lucia, which is now in the 
Metropolitan Museum. The first panel shows her 
with her mother at the shrine of St. Agatha, whither 
they had journeyed to pray at the tomb of the 


virgin saint for the restoration to health of Lucia’s 
mother, on which occasion St. Agatha appeared to 
her and told her that henceforth she could by her 
own prayers protect her native city of Syracuse, and 
obtain her mother’s return to good health. The 
second shows her giving away the proceeds of the 
sale of her estates. In the third she is traduced before 
the prefect Pascasius by her suitor, while the fourth, 
which we reproduce here, depicts her resisting the 
attempts of a double yoke of oxen to drag her to 
the place of execution. (See preceding page). 


* * * 


Before closing this chapter, it is, I think, neces- 
sary to say a few words about the large number of 
courageous converts to Christianity, who, durmg the 
course of the ten major persecutions, suffered horrible 
tortures and appalling deaths with an almost unbe- 
lievable fortitude, in both men and women, among 
young people and children, as among the aged. The 
vast majority are, of course, anonymous, “‘Unknown 
Soldiers” of the first army of Christ Our Lord, but 
some of them are known to us, either because of 
their outstanding social position, or their steadfast- 
ness under suffermmg. We have classed them as the 
Early Martyrs, and included those who died in the 
first three hundred years of the Christian Era, from 
the time of Nero (44-68 A. D.) to that of Diocletian 
(284-305 A. D.). If any reader will trouble to look 
through the list of Saints classified according to their 
costumes, which closes this book, they will be 
astonished at the number of martyr-saints who suf- 
fered under the last cruel tyrant. 

The word “Martyr” simply means “witness” 
(to the Faith), and Martyrdom, “‘death for the true 
Faith or for any article thereof, or being killed in 
odio fidet.”’ 

The Proto-Martyr, he who first—not counting 
the Innocents who were slain at Bethlehem by 
Herod in the hope of including in the slaughter the 
Infant Jesus—suffered martyrdom for the religion of 
Christ was St. Stephen, who was stoned to death as 
described in the Acts of the Apostles vit. 59, while 
Saul, who became the Apostle Paul, looked on and 
guarded the clothes, “and Saul was consenting unto 
his death” (Acts vii. 1). Stephen was one of the 
seven deacons (Acts vi. 5) chosen by the “‘multitude 
of the disciples”’ and ordained by the Apostles, and 
it is in the robes of that office that he is invariably 
depicted. (Plate XX XIII.) His typical dalmatic is 
bright crimson, embroidered and tasselled with gold. 
He is never without the palms—being the Proto- 
Martyr, the first of all, with no possible doubt as to 
the authenticity of his story—nor without one or more 
stones on his head, or shoulder, or Iying near him on 
the ground, or again on a gospel in his hand. Do 
not confuse with St. Nicholas of Myra, and his three 
balls of gold. The latter is never represented other 
than as a bishop, while St. Stephen always wears the 
distinctive dalmatica of a deacon. It seems strange 


‘ 


108 


that in spite of the biblical sanction for the martyr- 
dom of St. Stephen, he does not appear in the great 
mosaic of St. Apollinare Nuovo at Ravenna—nor of 
course in the more accessible copy at the Church of 
St. Vincent de Paule in Paris—in which forty-two 
martyrs, twenty-one men and a like number of 
virgins, are depicted in procession, bearing crowns, 
and advancing, one group from the right, the other 
from the left, towards an enthroned Madonna im the 
centre. This mosaic having been executed in the 
sixth century—about 434 A. D.—the choice of the 
martyrs represented is of prime interest to stu- 
dents and art lovers, for naturally only those who 
were most in favor would be selected. And although 
the work was executed by Greek mosaic artists, and 
by order of the Byzantine Emperor Justinian, only 
six of the forty-two are Greek Saints. The others 
all belong to the Western, or Roman, Church. The 
names of the Byzantine, or Greek, saints are marked 
in the followimg list with an asterisk. The order given 
is that of the procession, with the head of each sec- 
tion being nearest to the Madonna, and it will be 
noticed that many of the most important saints in 
the Calendar of today do not appear at all in this 
sixth-century list which, on the other hand, includes 
many who are now forgotten. 

The men, Ied by St. Clement the Pope, are SS. 
Justinus, Lawrence the deacon, and Hippolytus, his 
warrior guard and disciple; “Cyprian of Antioch, the 
companion of St. Justina; Cornelius the Pope (2547- 
242); Cassian, Bishop of Imola; the Roman brothers, 
John and Paul; Vitalis of Ravenna and his two sons, 
Gervasius and Protasius of Milan; Ursmus; Apol- 
linaris, the early bishop of Ravenna in whose honor 
the church was built and who was martyred in 79 
A. D.; Sebastian; “Demetrius; *Polycarp, the dis- 
ciple of St. John the Evangelist and first Bishop of 
Smyrna, who is called one of the earliest ‘Fathers 
of the Church’”’; Vincent, deacon of Saragossa and 
one of the most renowned saints in the calendar; 
Pancras, the 14-year-old martyr under Diocletian; 
Chrysogonus and Sabinus, the Roman martyrs. 

The Virgin martyrs are Ied by *St. Euphemia of 
Chalcedonia, instead of St. Catherine as they would 
be in a similar work composed today. Following the 
““Great”’ Virgin, as she is called in the Eastern 
Orthodox Church, are in order, SS. Paulina; Daria— 
whose usual companion, St. Chrysanthus, is not 
present; Anastasia, the companion of Chrysogonus— 
* Justina of Antioch who is usually seen with Cyprian; 
*Perpetua who appears nowhere else in Art; Felici- 
tas, who died with her seven sons for the true Faith; 
Vincentia; Valeria; Crispina; Lucia and Cecilia, two 
of the “‘Four Great Virgins”; Eulalia the Spanish 
martyr; Agnes and Agatha, the other two “Great 
Virgins’’; Pelagia, one of the Blessed Penitents, an 
actress; Sabina, the Roman patrician; Christina, 
patroness of the Venetian States; Eugenia, who lived 
as a monk under the name of the Abbot Eugenius; 
Anatolia and Victoria. 


The most popular saints of today are not here at 
all. SS. Catherine, Barbara, Margaret, Dorothea and 
Ursula, Stephen, George of Cappadocia, Christo- 
pher, are all missing from this interesting procession. 

This list of the Early Martyrs, classified as such, 
with those of the Eastern and Roman persecutions 
and of the other Italian states and foreign countries, 
will be found on page 155 near the end of the book, 
each list arranged in alphabetical order. 

And in addition to these few of the more impor- 
tant saints of whom I have found it necessary to 
speak at length in order that their various appear- 
ances In art may be instantly understood, there are 
at least a hundred more who were also frequent sub- 
jects for the artists of bygone days. It is not that 
their sacrifice of all that life held dear to them was 
less great than that of their more renowned brethren, 
but simply that their celebrity being more local, less 
universal, their appearances are less frequent, and, 
however entrancing I may find this subject, I must 
not allow myself to forget that this book is designed 
first and foremost as a practical aid to those who 
want to understand the significance of the thousands 
of sacred pictures which crowd the galleries of the 
old and even the new world. Therefore to our regret 
we must leave the rank and file of “the Noble Army 
of Martyrs” to others who are fortunate in having 
a greater space at their command, and simply refer 
our readers to the list we have prepared classifying the 
saints by their costumes, and the alphabetical index 
which will tell the reader in which category of that 
list to look for any saint he may wish to identify. 


MISCELLANEOUS PATRON SAINTS 


OF COUNTRIES, CITIES, PROFESSIONS, ETC. 


The knowledge of the various Saints who were, 
or in some cases are still worshipped, as Patrons of 
some locality, is most important in the “reading”’ of 
pictures, particularly those which are still hanging in 
the City, Church, Chapel or Monastery for which 
they were painted. For example in Bologna one sees 
numerous representations of a Saint holding a model 
in his hand. The high belfry in the model tells us 
that this is Samt Petronius, who rarely appears 
except in Bolognese pictures. Thus can we often 
Jocate a Master, or at least a school of painting. 
Again, a Warrior Saint with a palm in Bergamo is 
certainly St. Alexander, who is that city’s chief 
patron. Otherwise a warrior saint with a palm might 
be St. George, or St. Longinus, or St. Adrian, or St. 
Liberale though the latter two usually bear an anvil 
and a spear respectively, as their attributes. 

The number of Saints who are patrons of coun- 
tries, cities, classes of society, or against troubles, 
sickness and so forth is Iegion and we can only give 
a succinct list of the most important. Many of 
these do not occur in Art at all, but we publish them 
here for reference purposes. For the same reason we 
have arranged them in categories, and im alpha- 
betical order in each category. 


109 


CountTRIES 


Austria: St. Leopold, St. Stephen, St. Maxi- 
milian, St. Coloman. 

Bavaria: St. George. 

Bouemia: St. John Nepomuck, St. Wenceslas, 
St. Ludmilla, St. Vitus, St. Procopius. 

Burcunpy: St. Andrew. 

DENMARK: St. Anscharius and St. Canute. 

ENGLAND: St. George. 

FLANDERS: St. Peter. 

FRANCE: St. Michael, St. Dionysius (Denis), St. 
Geneviéve, St. Martin. 

GERMANY: St. Martin, St. Boniface and St. 
George Cataphractus; SS. Maurice and Gereon. 
Ho.ianp: St. Mary. 

Huncary: St. Mary of Aquisgrana and St. Louis. 
IRELAND: St. Patrick, St. Bridget. 

Iraty: St. Anthony of Padua. 

Norway: St. Olaf and St. Anscharius. 
PiepMonT and Savoy: St. John the Baptist, 
Maurice, St. George, St. Amadeus. 

PoLanp: SS. Stanislas and Hedwiga. 
PorTuGAL: St. Sebastian. 

Prussia: St. Andrew and St. Albert. 

Russia: St. Nicholas, St. Mary and St. Andrew. 
SARDINIA: St. Mary. 

ScoTLAND: St. Andrew. 

Sicity: St. Vitus, St. Rosalia (Palermo), St. 
Agatha (Messina), St. Lucia (Syracuse). 

Spain: St. James (Sant’ Jago). 

SwepD_En: St. Anscharius, St. Eric and St. John. 

SWITZERLAND: St. Gall and the Virgin Mary. 

TuHurINGIA and all that part of Saxony: St. 
Elizabeth of Hungary, St. Boniface. 

Umpria: All through this region and the eastern 
coast of Italy, very important in respect to art, the 
favorite Saints are: St. Nicholas, St. Francis of 
Assisi, St. Clara, St. Julian of Rimini and St. 
Catherine of Alexandria. 

Wates: St. David. 


StU 





CITIES 


ABERDEEN: St. Nicholas. 

ANCONA: St. Syriacus, and his mother Anna. 

ArREzzo: St. Donato. 

Asti, Novara, and all through the cities of P1Ep- 
MONT and the north of Italy, we find St. Maurice, 
and his companions St. Secundus, St. Alexander, and 
the other Martyrs of the Theban Legion. 

Aucssurc: St. Ulrich, St. Afra. 

BamBerc: St. Henry and St. Cunegunda. 

BarceELona: St. Eulalia. (In Spanish pictures 
only.) 

Bercamo: St. Alexander, St. Grata. 

Botocna: St. Petronius, St. Dominick, St. Pro- 
culus, St. Eloy (Eligio), Patron of Goldsmiths and 
Farriers. 

Brescia: SS. Faustinus and Jovita, St. Julia, St. 
Afra. 

Bruces: St. John the Baptist. 

BrusseEts: St. Mary Magdalene and St. Gudula. 


CoLtocNe: The Three Magi, 
Ursula, St. Gereon. 

Cortona: St. Margaret. 

Cremona: St. Omobuono. 

EpInBurGH: St. Giles. 

FERRARA: St. Gemignano, St. George, St. Bar- 
bara. 

FIESOLE: St. Romolo. 

FLoRENCE: St. John the Baptist, St. Zenobio, St. 
Antonino, St. Reparata, SS. Cosmo and Damian (the 
Apothecary Saints, especial patrons of the Medici 
family), St. Verdiana, St. Miniato, St. Zenobius. 

Genoa: St. George, St. Lawrence. 

GHENT: St. Bavon. 

GRENOBLE: St. Hugh the Carthusian. 

Liece: St. Hubert, St. Lambert. 

LissBon: St. Vincent. 

Lucca: St. Martin, St. Frediano, St. Zita. 

Maprop: St. Isidore, St. Dominick (Patron of the 
Escurial), St. Lawrence. 

Mantua: St. Andrew, St. Barbara, St. George, 
and St. Longinus. 

MarsEILLEs and all Provence: St. Lazarus, St. 
Mary Magdalene, St. Martha, St. Marcella. 

Messina: St. Agatha. 

Miran: St. Ambrose, St. Gervasius and St. Pro- 
tasius, St. Maurice, St. Victor. 

Mopena: St. Gimignano. (In pictures of the 
Parmese school.) 

Naptes: St. Januarius. 

Novara: St. Gaudenzio (see AstT1). 

NureEmBurc: St. Lawrence, St. Sebald. (The Jat- 
ter an important person in pictures and prints of the 
Albert Diirer school.) 

Oxrorp: St. Frideswide. 

Papua: St. Anthony of Padua. 

Paris: St. Geneviéve, St. Germain, St. Hippo- 
lytus. 

Parma: St. John the Baptist; St. Thomas the 
Apostle; St. Bernard; St. Hilary (Ilario). 

Peruaia: St. Ercolano and St. Costanzo. 

Piacenza: St. Justina, St. Antoninus (Theban 
Legion). 

Pisa: St. Ranieri, St. Torpé, St. Ephesus and St. 
Potita. (These only in the ancient Pisan school.) 

Ravenna: St. Apollinaris. 

Rimint: St. Julian. (A young saint, popular all 
through the north and down the east coast of Italy.) 

Rome: SS. Peter and Paul. 

SEVILLE: St. Leander, St. Justina, St. Rufina. 
(These are only found in Spanish pictures.) 

Si—ENA: St. Ansano, St. Catherine of Siena, St. 
Bernardino. 

Toepo: St. Ildefonso, St. Leocadia. (Only in 
Spanish pictures.) 

Treviso: St. Liberale. 

Turin: St. John the Baptist, St. Maurice. 

VALENCIA: St. Vincent. 

VENICE: St. Mark, St. George, St. Theodore, St. 
Nicholas, St. Catherine, St. Christina. 


or Kings, St. 


VERCELLI: St. Eusebius, St. Theonestus (Theban ——— 
Legion). 

VERONA: St. Zeno, St. Fermo, St. Euphemia. 

VIENNA: St. Stephen. 


CLASSES OF SOCIETY, TRADES AND PROFESSIONS 


ARCHERS: St. Sebastian. 
Artists: St. Catherine. 
BooKsELLers: St. John Port-Latin. 
Captives: St. Leonard and St. Barbara. 
CarPENTERS: St. Joseph. 
CHILDREN, PROTECTION FROM REPROACH: St. 
Susanna. 
Divines: St. Thomas. 
FISHMONGERS: St. Peter. 
Foots: St. Mathurin. 
GOLDSMITHS AND FarrieERs: St. Eloy of Noyon. 
Hatters: St. William of Aquitaine. 
Hunters: St. Eustace and St. Hubert. 
LAWYERS AND CrviLiAns: St. Yves of Brittany. 
LITERATI AND Stup1ous Persons: St. Catherine 
and St. Gregory. 
Lovers: St. Valentine. 
Mariners: St. Christopher and St. Nicholas. 
Mixuers: St. Arnold. 
Musicians: St. Cecilia. 
Naixsmitus: St. Cloud. 
Nurses: St. Agatha. 
PaInTERs: St. Luke. 
PARISH-CLERKS: St. Nicholas. 
PERIWIG MAKERS: St. Louis of France. 
PHYSICIANS AND SURGEONS AND PHILOSOPHERS: 
Cosmo and St. Damian. 
Pitcrims: St. Julian Hospitator. 
PIN-MAKERS: St. Sebastian (on account of his 
body having been used as a pin-cushion for arrows!). 
Prisoners: St. Leonard and St. Roch. 
SaiLors: St. Nicholas. 
SHOEMAKERS: St. Crispin. 
Smitus: St. Eloy. 
SWINEHERDs: St. Anthony. 
TANNERS: St. Clement. 
VirGins: St. Winifred. 
Younc CuiLpren: St. Felicitas, St. Nicholas, St. 
Ursula, St. Catherine. 


Sh 


AGAINST SICKNESS AND TRIBULATIONS 


Co.iic AND KINDRED TROUBLE: St. Erasmus. 

Deatu, SUDDEN: St. Mark. 

Eye Trovus.es: SS. Ottilia and Lucia. 

Frre, DESTRUCTION OF PROPERTY BY, AGAINST: 
St. Agatha, St. Anthony of Padua. 

Mice Anp Rats: St. Gertrude. 

Nervous TRouBLEs: St. Vitus. 

PLAGUE AND INnFEcTIOUS DisEASEs: St. Roch and 
St. Sebastian. 

Quincy: St. Blaise. 

TEETH, ACHING OR DecayreEp: St. Apollonia. 

Tuieves: St. Ethelbert. 


IIo 


PEATE XXXII THE SAINTS IN ART 


SOMBOr “THE 
MOST POPULAR 
PATRON SAINTS 
monies | HE PRO- 
TO-MARTYR: ST. 
STEPHEN 








1) St. Apollonia, the Greek Virgin Martyr, Patroness against dental troubles, holding the pincers and tooth, which are 
her attributes in art, by some 16th Century Ferrarese Master, in the Louvre. 2) Enthroned Madonna, with SS. Omobuono 
and Francis of Assisi, by Bartolommeo Montagna (c. 1450-1523) in the Berlin Museum. Note the tiny St. Catherine with her 
pen, book, and wheel, in the centre foreground, and St. Bernardino da Feltri kneeling at the feet of the patr.crch of his order, 
St. Francis, and holding up a miniature ‘“Monte-di-Pieta.”’ 3) St. Lucy, with her eyes in a bowl and her dagger, by Zagarelli 
da Cotignola (w. 1495-1518). (Courtesy of the Kleinberger Galleries). 4) St. Maurice, of the Theban Legion, as a Moor, in 
reference to his name—a frequent occurrence in German pictures—with St. Erasmus, Bishop of Formio, by Matthias Griinewald 
(died c. 1530), in the Munich Gallery. 5) The famous Etienne Chevallier, with his patronymic patron, St. Stephen, by the rare 
French master, Jean Fouquet (w. 1461-1485), in the Berlin Gallery. Note the stone on St. Stephen’s Old Testament (see page 19). 
6) ae Stephen, in his usual dalmatic, by Francia, in the Casino Borghese in Rome. Note the blood on his head and the stones 
in front of him. 





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THE WORLD-RENOWNED “TRIUMPH OF DEATH’? PROBABLY BY FRANCESCO TRAINI, IN THE CAMPO SANTO IN PISA. THIS INTERESTING 
WORK OF A FOLLOWER OF GIOTTO IS REPLETE WITH SYMBOLISM AND YET IS MORE NATURALISTIC THAN ANYTHING EXECUTED UP TO THAT 


TIME. 
IN THREE COFFINS. 
LIVES OF THE DEAD MEN. 


IN THE FOREGROUND WE SEE A NUMBER OF KNIGHTS LOOKING AT THREE BODIES LYING IN VARIOUS STAGES OF DECOMPOSITION 
ONE IS A KING, FOR HE WEARS A CROWN. A HERMIT, PROBABLY ST. RANIERI OF PISA, PRESENTS A ROLL OF THE 
IN THE MOUNTAINS ABOVE, AN INTERESTING GROUP OF HERMITS IS ENGAGED IN PERFORMING THEIR DAILY 


DUTIES, AND IN THE CENTRE OF THIS SECTION ST. ANTHONY IS PAYING HIS FAMOUS VISIT, OF WHICH WE SPEAK BELOW 


CHAPTER XII 
Tue Hermits AND MonasTICc Opes. 


Although this grouping under one heading is 
unusual in works of this kind, the only matter for 
surprise Is that it is not always adopted, for the whole 
principle and history of monasticism grew out of that 
species of flight from temptation and self-mortifica- 
tion which led men away from their fellows to seek 
solitude and meditation mm the wilderness. The 
hermits are therefore particularly venerated by the 
church, partly because of their self-sacrifice and 
sufferings for an ideal, partly, again, because out of 
the principle of solitude grew the monastic orders 
with their incalculable influence upon the whole 
cultural history of humanity. We shall go more 
fully into this Iater in this chapter. 

The hermits who appear in art are listed in their 
proper place among the Saints, classified by their 
garments. Some of them are universally famous, 
others enjoy a more local celebrity. Among the best- 
known to all of us are, of course, St. Anthony of 
Egypt, with his Iong beard, his hooded monastic 
habit, his pig, his crutch and bell, and his aspergill; 


I12 


St. Jerome with his semi-nude body, his skull and 
crucifix, his lion and his cardinal’s hat, and fre- 
quently shown beating his chest with a big stone; 
St. Giles of Edinburgh as an old man, holding a hart 
wounded by an arrow—which had taken refuge in 
his cave—and more rarely, St. Paul the Hermit, to 
whom St. Anthony went for advice, and who might 
be called the Father of the Anchorites or true Solli- 
tary Hermits. He lived in the desert by himself for 
nearly a century, rarely coming into contact with 
other human beings until St. Anthony, who had 
dwelt alone in a cavern for 75 years, and believed 
that he had lived a life of self-mortification longer 
than any other man had ever done, heard that 
another hermit, Paul, had spent 24 years more than 
he had, in the wilderness. St. Anthony reached 
Paul’s cave just in time to receive his last breath and 
blessmg. The two old men are sometimes seen 
together, notably in four famous works, one by 
Velasquez in the Prado, Madrid, another by Lucas 
van Leyden in the Lichtenstein Gallery, Vienna, a 
third by Pinturicchio in the Vatican, the last by 
Guido Reni in the Berlin Museum, which we have 
illustrated on page 114. 














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TO ST. PAUL THE HERMIT (see below). 





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IN THE FOREGROUND OF THE NEXT SECTION ARE A GROUP OF DEAD OR DYING, FROM SOME OF 


WHOM ANGELS OR DEVILS ARE WITHDRAWING THE SOULS, AS NAKED INFANTS (SEE PAGE Daly WHILE ON THE RIGHT ARE A NUMBER OF 
HAPPY PEOPLE, WHOM DEATH, WITH A SCYTHE IS ABOUT TO CUT DOWN. NOTE THE WAY THE DEAD ARE SEPARATED SHARPLY FROM THE 


LIVING, LIKE IN A FIELD OF CORN PARTIALLY MOWN, WHICH IS THE IDEA INTENDED HERE. 


IN THE AIR, SERAPHIM AND DEVILS ARE 


BEARING AWAY THE SOULS OF THE BLESSED AND THE DAMNED RESPECTIVELY, OR FIGHTING FOR POSSESSION OF ONE OR ANOTHER. 


St. Paul, alone, is shown as a very old man, 
almost naked, with a girdle of leaves, seated near a 
palm-tree. His beard should be white and very long. 
Two lions are frequently mntroduced to illustrate the 
legend relating that two such beasts, always the 
emblem of solitude in the desert, dug his grave with 
their paws. A centaur Is also brought in occasionally, 
the mythical creature, half man, half horse, who led 
St. Anthony to the cave of St. Paul. The raven, 
which fed him, is another common accessory. Care 
must be taken not to confuse him with St. Onofrio, 
who ts also depicted clothed only with branches of 
trees, but who is always made to appear as dirty and 
shaggy and generally uncouth as possible. He figures 
in the picture called the ‘“Meditation on the Passion”’ 
by Marco Basaiti (attributed to Carpaccio) in the 
Metropolitan Museum, and the great Andrea del 
Sarto Madonna illustrated on page 114. 

St. Paul was, as stated above, the founder of the 
Anchorites, while St. Anthony found it better to 
group together a number of hermits for prayer and 
organized labors for Christ. They were known as 
Cenobites, and their communities were, so to speak, 
the first monasteries. St. Anthony is therefore seen 


113 


in some works holding a building in his hand, but 
such pictures are rare, and when a saint is depicted 
thus it generally represents St. Jerome, — who 
introduced the monastic principle from the Theban 
desert into Europe, and so is revered as the 
founder of monachism in the West,—or some other 
personage, who may or may not be a saint, but 
who built a church or monastery. (See page 154, 
Buildings.) 

A number of women are included in this group of 
hermits (see page 147), notably St. Mary Magdalene, 
St. Gudula and St. Mary of Egypt. The two former 
appear in the wonderful van Eyck panel of the Ghent 
altarpiece, which depicts ten male hermits and two 
women, led by St. Anthony who is recognisable by the 
blue T-shaped cross on his breast. St. Onofrio fully 
clothed as all the group is, can also be recognised by 
his shaggy matted beard right behind St. Anthony, 
St. Mary Magdalene is distinguished by her omtment 
box, while the other is surely St. Gudula, for she is 
the patroness of Brussels, and she is dressed in hand- 
some robes, whereas the other female hermits were 
of lower social rank and are always depicted in rags 


or semi-nude. (See Plate XXXIV.) 


Now from the beginning of history we find that 
two basic yearnings govern the soul of mankind, one, 
that desire for spiritual community with the Al- 





THE MADONNA IN GLORY WITH SS. ANTHONY OF EGYPT AND PAUL 
THE HERMIT, BY GUIDO RENI, IN THE BERLIN MUSEUM 


mighty while still in this life, which we term “mysti- 
cism,” and the other, the sense of a necessity of more 
or less painful penance for self-acknowledged short- 
comings, which we know as “‘asceticism.”” Monasti- 
cism (from the Greek “‘monastikos”—living alone) 
was In sort the expression of these almost universal 
longings regulated and developed, instead of being 
governed solely by the degree of fortitude of soul 
and body possessed by each individual penitent. 
And so we find organised monasteries long before 
the Christian era in such countries as Tibet and 
India, and in China and Japan, where the Brahmins 
and the Buddhist monks, respectively, Itved under 
conditions very similar to those which obtained in 
the European Christian establishments. In Judea 
and in Alexandria in pre-Christian times the Essenes 
and the Therapeutae, respectively, lived in the man- 
ner of the later Cenobites under strict rules, but con- 
cerned, as were all the Cenobites until the rule of St. 
Benedict came to give a higher note to the system, 
with the salvation, one might say by hook or crook, 
of their own souls, rather than with the work of 
doing good or giving the benefit of their meditations 
to their fellow-men living in spiritual darkness. 


114 


So it follows that none of these early pre-Christian 
monastic institutions had any effect upon the Chris- 
tian communities of SS. Anthony and Benedict. 

Now when St. Anthony, by his eloquence and 
the exemplary life he led, drew*toward him large 
numbers of converts who followed him and also took 
to dwelling in caverns near him, he brought into being, 
as It were, the earliest Christian monastery. He and 
his first disciple, Pachomius, built an edifice on an 
island in the Nile, to which St. Anthony returned 
after the death of his mentor, Paul—which had been 
attended by so many miraculous tncidents—and 
where he died in the year 357 A.D. Hilarion, 
another convert and disciple, founded the first 
monastery in Syria, and still another, Basil, built the 
first monastic cloister in Asia Minor. St. Jerome, 
after a visit to St. Anthony, founded a number of 
monasteries in Italy and Northwestern Europe, then 
known as Gaul, and a century later the monastic 
principle was firmly established by St. Benedict, who 
had also lived as a hermit in the rocky wilderness of 
Subiaco near Rome for three years. (See page 122.) 


But whereas the hermits, bound by no laws, 
acknowledging no authority, filled In many cases 
with self-glorification, refusmg to study, and believ- 
ing in nothing but their primitive theology, pre- 
sented a menace rather than a support to the cause of 
the religion of Jesus Christ, the monks of the Bene- 
dictine order, and others which soon came into being 
after it, must be looked up to forever, not only for 





ANDREA DEL SARTO’S GREAT MADONNA AND SAINTS IN THE BERLIN 

GALLERY. THE SAINTS ARE: Standing, SS. BENEDICT, PETER, 

MARK AND ANTHONY OF PADUA. <Kueeling, SS. ONOFRIO AND 

CATHERINE OF ALEXANDRIA. In front, SS. CELSUS AND JULIA, 

THE VIRGIN MARTYR, WHOSE PRESENCE SHOWS THAT ANDREA DEL 

SARTO PAINTED THIS PICTURE FOR BRESCIA, OF WHICH CITY 
CELSUS AND JULIA ARE PATRONS 


their intelligent teaching of the Gospels but also 
for their work in the realms of fine arts, of chem- 
istry, of all the then-known natural sciences, in the 
education of the people, and for their institution 
of well-organised hospitals. It is safe indeed to say 
that without the splendid disinterested Iabors of the 
monastic orders in those early days the majority of 
the glorious cathedrals which dot the face of Europe 
would never have been built; innumerable literary 
treasures would never have seen the light; the arts of 
painting and sculpture would have been incalculably 
slower in reaching their maximum of achievement; 
medicine would long have continued in the primitive 
methods of barbaric days, and strange as it may 
seem in this connection, women would have re- 
mained under the proprietary influence of chivalry, 
until the mvention of gunpowder, making the knight 
in armor an encumbrance and a danger rather than 
backbone of an army as he used to be, drove feudalism 
out of the field and allowed men to begin thinking 
for themselves. In short, the influence of the monks 
on every aspect of life was so tremendous that it is 
hard to visualize what would have happened to civil- 
isation had the monastic orders not come into being. 

Now, pictures painted for them take several 
important forms: 1) those which glorify the Saviour 
in one or another of His manifestations on earth, or 





SS. ANTHONY AND GEORGE WITH THE MADONNA IN GLORY, BY 
PISANELLO (C. 1385-1455), IN THE NATIONAL GALLERY. NOTE 
THE BELL, ASPERGILL AND PIG OF ST. ANTHONY 





THE TEMPTATION OF ST. ANTHONY, AS INTERPRETED BY ONE OF THE 
MOST INTERESTING OF ALL GERMAN PAINTER-ENGRAVERS, MAR- 
TIN SCHONGAUER. (C. 1440-1491) (Courtesy of Kennedy er Co.) 


the Virgm, His Mother, with one or more of the 
most prominent saints of some particular order 
gathered together around the throne of the Madonna, 
or gazing rapturously upon such miraculous happen- 
ings as the Resurrection, or the Assumption, or the 
Coronation of the Virgin; 2) those in which the lead- 
ing saints of one particular order, with its patriarch, 
its own founder, and frequently its patron saint, are 
united in adoration of the divine Beings or the 
Mother of God, as such (Dei Genetrix); 3) those 
again where the leading lights of the monastic idea as 
a whole are represented together; 4) those m which 
the founder of the order, or sometimes the general 
patriarch is himself enthroned, surrounded by the 
great dignitaries of his community; and finally, 5) 
those in which incidents in the lives and spiritual 
careers of the founders and principal saints are illus- 
trated in historical or narrative form. 

Of the first type of picture we can take as 
example, Raphael’s great Madonna da Foligno, now 
in the Vatican, in which St. Francis of Assisi kneels 
at the feet of the Madonna in glory, opposite the 
donor, Sigismondo Conti. Behind St. Francis is the 
patron of his order, St. John the Baptist, presenting 
il Padre Serafico to the Virgin, while St. Jerome, the 
patron of the donor, performs the same service for 
that worthy. (See page 116). 

An excellent example of the second type is the 
wonderful Coronation by Pinturicchio, also in the 
Vatican, in which, against a background of the 
twelve Apostles, divided into two groups of six, the 





a 
we 


RAPHAEL’S CELEBRATED ‘‘MADONNA DA FOLIGNO,” IN THE VATICAN, 
PAINTED FOR THE FRANCISCAN ORDER AT THE COMMAND OF SIGIS- 
MONDO CONTI, WHO IS KNEELING OPPOSITE ST. FRANCIS, WHILE 
ST. JEROME PRESENTS THE DONOR TO THE VIRGIN, AND ST. JOHN 
THE BAPTIST, THE PATRON OF THE ORDER, PERFORMS A SIMILAR 
SERVICE FOR THE Padre Serafico. (SEE PAGE 120.) 


most brilliant personalities of the Franciscan order 
are kneeling beneath a beautifully conceived celestial 
group. We see on the extreme left in front, the 
Seraphic Doctor, St. Bonaventura, in episcopal 
robes, with his rejected cardinal’s hat on the ground 
before him. Behind him is St. Bernardino of Siena 
with his lean, emaciated face; in the centre ts the 
founder of the Order, St. Francis of Assisi, with 
his distinguishing mark, the Stigmata; to the ex- 
treme right, St. Louis of Toulouse, the French 
royal saint, nephew of the great St. Louis, as a 
Bishop, his cope sprinkled with fleurs-de-lys, and his 
mitre on the ground before him; and behind him, 
St. Anthony of Padua, with no attributes but always 
recognisable as a portrait. 

Of the third class, a representative picture is to 
be seen in the Metropolitan Museum: a devotional 
Christ on the Cross—not a Crucifixion as it Is 
termed in the catalogue—already mentioned on 
page 15, and to make our point clearer, we have 
reproduced it on page 118. Although this mter- 
esting work was executed by a Dominican, for the 
Dominicans, as the presence in the foreground, of 
the two kneeling saints of that order testifies, there 
are, present, saints of other orders whose names are 
given in the caption beneath the cut. A better 





116 


example still is the Coronation by the same master 
in the Convent of San Marco, m Florence where he 
lived and flourished. Kneeling beneath the Divine 
group are from left to right: St. Thomas Aquinas, 
the Angelic Doctor, with a sun on his breast; St. 
Benedict mm his black habit, and wearing a beard; 
St. Dominick and St. Francis facing each other with 
their characteristic habits and attributes; St. Peter 
Martyr, the third great Saint of the Dominican 
order, while the saint on the right is St. Anthony of 
Egypt, representing the Augustinian order, as he 
does so frequently in pictures painted specially for it. 
Thus the four great original orders are represented, 
each by its founder or patron. (See Plate XXXVI). 

An even more comprehensive picture in this class 
is the great Crucifixion—with the two thieves—by 
Fra Angelico, on the walls of the convent of San 
Marco in Fiesole. (See page 118). Here we find, in 
addition to the customary group of the Virgin Mary, 
Mary Cleophas, St. Mary Magdalene, St. John the 
Evangelist, St. John the Baptist, and St. Mark, the 
two last as patrons of Florence and the particular 
convent respectively, and the patrons of the Medici 
family, SS. Lawrence (Lorenzo), Cosmo and Da- 


THE CORONATION OF THE VIRGIN. ANOTHER FRANCISCAN PICTURE 

BY PINTURICCHIO, ALSO IN THE VATICAN. THE TERRESTRIAL 

GROUP, KNEELING IN FRONT OF THE TWELVE APOSTLES, ARE: (From 

Left to Right): ss. BERNARDINO OF SIENA, BONAVENTURA 

WITH HIS CARDINAL’S HAT ON THE GROUND, FRANCIS, LOUIS OF 
TOULOUSE, AND ANTHONY OF PADUA. 





PEATE XXXIV THE SAINTS IN ART 


1 
ANTHONY 
OF EGYPT AND SOME 
OFTHE OTHER 
HERMITS 


$ 


nominee = apie weer oe eee 





1) St. Anthony of Egypt, as an Abbot, iz cathedra (enthroned) with Pope St. Cornelius and St. Cyprian, in a famous picture 
by Paul Veronese, in the Brera at Milan. 2) St. Anthony with his pig, crozier, bell, and book, and St. Barbara with a palm and 
chalice in attendance upon the Madonna, by Bernardino Luini, also in the Brera. 3) St. Mary of Egypt, one of the ‘‘Blessed 
Penitents,” by Menlinc at Bruges. 4) The Coronation of the Virgin, by Fra Angelico, at the convent of San Marco, at Fiesole, 
near Florence, shows us the patrons, founders and prominent members of all the leading orders kneeling in adoration of 
the Divine group. From left to right we see SS. Thomas Aquinas, Benedict, in black, Dominick, Francis of Assisi, Peter 


Martyr and Augustine as an Augustinian Hermit. 5) St. Anthony leading the company of hermits: one of the wings of the 
Ghent altarpiece of the “‘Adoration of the Lamb,” by Hubert and Jan van Eyck. 


riz 


mian, all of whom stand on the left of the picture, 
the founders of the Dominican, Franciscan, Car- 
melite, Jeronymite, Camaldolese, Benedictine, Cis- 
tercian, and Vallombrosan Orders. 

Typical of the fourth class is the picture by the 
Sicilian artist, Novelli, in the monastery of San 
Martino near Palermo, in which St. Benedict is seen 





DOMINICAN CONVENT OF SAN MARCO IN FIESOLE, FULLY EXPLAINED ON PAGES 116 AND 118 


enthroned and surrounded by a vast concourse of 
saints of the original, and all the reformed orders 
which were governed by the rule of the patriarch. 

As for the fifth group, such works are innumer- 
able, for they have been the favorite subjects of the 
painters and their monastic patrons ever since the 
earliest days of the Renaissance in Italy. Incidents 
in the lives of the leading saints of each order, their 
miracles, their mystic visions, are to be found depicted 
in early pictures in every gallery that collects works 
of the old masters. (See Plates XX XV.-XXXIX.) 

Now, the first monasteries, as 
we understand the term today, 
were founded by St. Benedict, who 
In 529 removed his congregation 
from Subiaco to Monte Cassino, 
upon the summit of which there 
was formerly a temple dedicated 
to Apollo, while one of his disciples, 
St. Maur, founded the first Bene- 
dictine institution in France at 
Glanfeuil, during the life-time of 
the famous “patriarch.” Benedic- 
tine monasteries are very numer- 
ous throughout Europe, or rather 
were, until political bodies growing 
either jealous or afraid of their 
enormous influence—the infinitely 
larger proportion being for good 
—either destroyed the building, or 
drove the monks away, or both. 
Although the Benedictines were not 
essentially the “building monks,” 


SMALL DEVOTIONAL CRUCIFIXION BY FRA ANGELICO, IN THE METROPOLITAN MUSEUM, WITH 
( from left to right: ) SS. MONICA AND HER SON, AUGUSTINE, THE VIRGIN MARY, JOHN 
THE EVANGELIST, FRANCIS OF ASSISI, AND DOROTHEA OF CAPPADOCIA. KNEELING IN FRONT 
ARE SS. DOMINICK, MARY MAGDALENE, AND THOMAS AQUINAS. (SEE PAGE 15) 


the fact that until the ninth century, there was no 
other organised body of clerics, forced the senior 
“order” to build churches and monasteries for the 
housing of its adherents and the practice of its 
teaching to the people. The Augustinian Canons 
were the “Cathedral Builders” par excellence, for 
reasons which we shall explain presently, but some 
of the grandest monuments of 
Gothic still extant are of Bene- 
dictine construction, notably the 
Cathedral Churches of Canter- 
bury, Bath, Winchester, Ely, and 
the Palatinate Cathedral Church 
of Durham, of which the Bishop, 
alone in the British Isles, wears 
a ducal coronet around his mitre. 
Westminster Abbey, Peterbor- 
ough, Gloucester, and Chester 
Cathedrals are also Benedictine 
edifices as are all those lovely 
ruined abbeys which make certain 
parts of England and Scotland so 
picturesque, notably Fountains 
Abbey inY orkshire, Bolton Abbey 
in Derbyshire, Melrose Abbey in 
Scotland, Tintern Abbey on the 
river Wye, and Glastonbury, most 
famous of all, for it was there that fifteen years 
after the Assumption of the Blessed Virgin, 
Joseph of Arimathea established himself and con- 
verted vast numbers of people to the new faith. 
On account of this early success in proselytising 
by one who had helped to lay Our Lord in the 
sepulchre, English Ambassadors at three great coun- 
cils in the fifteenth century claimed precedence of 
those of the Kings of France, Spain and Scotland, 
all of whose peoples were converted later than the 


English. 





The most famous Benedictine monasteries are 
those at Subiaco, formerly St. Benedict’s cavern- 
dwelling, and, a mile away, the convent of Santa 
Scholastica, so named after St. Benedict’s sister, 
which has the distinction of having housed the first 
printing press in Italy, just as Caxton set up his in 
the Benedictine Abbey of Westminster in 1477; the 
San Sisto at Piacenza, for which Raphael painted 
the world-famous Madonna da San Sisto; Grotto 
Ferrata near Frascati, with its great Domenichino 
frescoes of the life of St. Nilus; San Severino at 
Naples; San Giustina at Padua; the Abbeys of 
Fontevrault, St. Maur, Marmoutiers in France, and 
St. Andrew’s Church in Rome. It should be remem- 
bered that the term ‘‘Abbey”’ attached to the name 
of any building stamps it almost certainly as of 
Benedictine origin, e. g., Westminster Abbey. But 
as already stated, the Benedictines were not really 
builders; they were, first and foremost, scholars, and 
to their untiring patience and loving labors it is that 
we owe so much of our knowledge of ancient litera- 
ture. And from the viewpoint of art, we shall always 
be under obligations to the monks of this great com- 
munity for their researches into the realm of chem- 
istry with its offshoot of pigment-mixing, which 
made possible the painting of those exquisite works 
of the early Masters. Not only did the monks of St. 
Benedict invent many of the best tints, they also 
prepared them for use, and when a painter was given 
a commission to execute a picture to adorn one of 
their chapter houses, his colors were mixed by the 
chemists of the institution in order that, in their 
excellence, they might be worthy of the subject for 
which they were to be used (see pages 7 and 9). 
The majority of the wonderful illuminated manu- 
scripts of feudal days were produced by these sincere 
and disinterested art-craftsmen. 

Artists who bear the title Dom or Don are always 
either original Benedictines, or one of the later re- 
formed branches, such as the Camaldolesi, e. g., Don 
Lorenzo Monaco, whereas those whose names are 
preceded by the title Fra (brother) are members of 
the Mendicant Orders, 7. e., Dominicans or Francis- 
cans or Carmelites, as, for example, Fra Angelico 
and Fra Bartolommeo, who belonged to the former, 
Fra Antonio da Negroponte, who was a Franciscan, 
and that remarkable personage, Fra Lippo Lippi, a 
Carmelite. The author of the famous treatise on 
painting, who is known as Theophilus the Monk, 
was a Benedictine. 

Now, while the Benedictines were above all 
scholars, students, and teachers, the Augustinian 
Canons were responsible for many of the noblest of 
the Gothic Cathedrals, while the Mendicant Orders 
specialised on the construction of hospitals and in 
the care of the sick. And it is most important that 
we should know the founders, and, in many cases, 
the present owners of the great hospices and cathe- 
drals containing world-famous works of art, for 
through that knowledge we can understand more 


I1Q 





easily the significance of such pictures and solve the 
fascinating puzzle of the identity of the saints por- 
trayed. 

We have already mentioned a number of Bene- 
dictine edifices, but there are many others built 
either by reformed branches of that order or by royal 
or ducal saints who were members of either the 
parent body or a subsidiary community. Of such is 


ee 


te aan aed 


HPP Bagge at 
pion ers 4, 


“MEDITATION ON THE PASSION,” BY MARCO BASAITI (ATTRIBUTED 
TO CARPACCIO) IN THE METROPOLITAN MUSEUM. THE HERMITS ON 
EITHER SIDE OF THE SAVIOUR ARE ST. JEROME (LEFT) AND ST. 
ONOFRIO, WITH SCENES FROM THEIR LIVES {N THE BACKGROUND 
the great cathedral of Bamberg, erected by King 
Henry of Bavaria, who with his wife, Cunegunda, is 
included.in the calendar of saints; the celebrated 
Certosa of Pavia, the Grande Chartreuse near Gre- 
noble, the Certosa in Rome, were all built by the 
Carthusians, founded by St. Bruno; the Cistercians 
assembled by that most wonderful of all monks, St. 
Bernard de Clairvaux, who preached the second 
crusade, gave us the abbeys of Fountains and Tin- 
tern, which we mentioned before, the famous Abbey 
of Citeaux near Ch4lons-sur-Saéne in France, which 
is the Mother-house of the Order, and its most re- 
nowned dependency, the Abbey of Clairvaux m 
Champagne. The Vallombrosans constructed the 
Abbey from which they took their name, near 
Florence, in the mountains; the Salvi Monastery 
on the outskirts of the Tuscan capital, and the 
splendid Church of the Trinita, also in Florence. 
The Church of S. Maria della Vallicella in Rome 
belongs to the Oratorians, founded in 1575 by St. 
Philip Neri, but it was not built by them. 

The Augustinian Monks, or Augustinian Canons, 
or Austin Canons or Austin Friars, as they are 
diversely styled, were above all Churchmen, or to 
use the ecclesiastical term, Regular Canons. They 
claim foundation by the great ‘Doctor of Grace’ 
himself, but the claim has been disallowed by the 
Church, and their first authentic establishment as a 
cenobite community dates from 816 A. D., when the 
Council of Aix-la-Chapelle drew up the so-called 
Rule of St. Augustine in order to reaffirm the disci- 
pline of the canons regular, which had grown lax. 
These men, then, being Church-dignitaries, in con- 





ST. PATRICK, WHO WAS AN AUGUSTINIAN CANON, IN HIS EPISCOPAL 
ROBES AS PRIMATE OF IRELAND, WITH HIS SERPENT EMBLEM 


CRUSHED BY THE HEEL OF HIS PASTORAL STAFF 
(Courtesy of O’Malley’s Book Store) 


tradistinction to the “Jay” monks. of St. Bene- 
dict, were the Church builders, super omnes, of the 
middle ages. It was they who gave us the great 
cathedrals of Cologne, and Strasbourg and Mainz, in 
Germany; the beautiful Salisbury, stately Lincoln, 
Lichfield, and Carlisle in England; the Eremitani in 
Padua; San Lorenzo in Florence; and the Churches 
dedicated to their Patriarch, Sant’Agostino, in Pavia 
and Rome. As a general rule, ecclesiastical buildings 
dedicated to the Patriarch, or his mother, St. 
Monica, or to St. Mary Magdalene, St. Lawrence or 
St. Anthony the Hermit, are Augustinian. York 
and Beverley Minsters, though, as their name im- 
plies, they were Benedictine edifices, were ceded by 
the monks to the Austin Canons. 

The Dominicans also gave the world some re- 
markably beautiful churches, which they filled with 
pictures painted by the greatest artists of Italy. 
San Domenico at Bologna is the parent church where 
the great preacher himself lies buried. Santa Maria 
Novella in Florence, with its famous Rucellai Ma- 
donna—formerly attributed to Cimabue, on the word 
of Vasari, but now given by nearly all scientific 
critics to the Sienese master, Duccio di Buoninsegna 
—and Santa-Maria-sopra-Minerva in Rome, 
both belonged to the preaching order. In Fiesole 
also is the famous Convent of St. Mark (San Marco), 
the life-long home, first of J] Beato, Fra Angelico, 
then of Fra Bartolommeo, and in the gardens of 
which the great Savonarola preached. The Santa 
Maria-delle-Grazie outside Milan, for which Leon- 


ardo painted his wonderful “Last Supper,” is another 
Dominican church. The Dominicans bemg famous 
preachers, nearly all their churches, except Santa 
Maria-sopra-Minerva, were built as one large hall 
without aisles, in order that the voice of the friar 
could be heard more distinctly. 

The Franciscans built a number of fe churches 
also, notably the Santa Croce in Florence; the Ara- 
Coeli in Rome for which Raphael painted his splendid 
Madonna da Foligno; and of course the parent- 
church at Assisi with its celebrated series dealing 
with the life of the patriarch by his friend, Giotto, and 
his followers. 

The Carmelites built the beautiful Carmini 
Church in Florence with its famous Brancacci 
Chapel, decorated by Masolmo and Masaccio. 

The Jesuits gave us the Cathedral of Antwerp 
and its magnificent ‘‘Descent from the Cross” 
which Rubens painted for the Order. And finally, 
the Jeronymites, who claim St. Jerome as their 
patriarch, built the Monastery of San Sigismondo 
near Cremona, and in Spain, those of St. Just, and 
the Escurial, now the Royal Palace, in Madrid. 

* * * ok * 


The limited space at my disposal forbids me 
even to skirt the fascinating topic of the careers of 
those noble characters who founded the great 
monastic orders, while as for the secondary members, 
I cannot do more than mention the names of those 
who appear in art sufficiently often to warrant such 
notice. All of those who have any importance from 
the artistic standpoint are, however, listed in the 





ST. PATRICK, AS A PILGRIM, ON THE JOURNEY TO TARA 
(Courtesy 0 iMr. Edward J. O’Malley) 


PLATE XXxXV THE SAINTS IN ART 


IMPORTANT MONASTIC SAINTS 
NARRATIVE | 





ny 
JON? ar 


= , “ isi 


1) St. Catherine of Siena, with the Stigmata plainly discernable on her hands and feet, and her lily and book, by Lorenz 
Vecchietta (c. 1412-1480), in the Public Library at Siena. 2) St. Thomas Aquinas, in glory, by F. Traini, in St. Catherine’s at 
Pisa. Note how Christ sends a triple ray of knowledge to the Angelic Doctor; a ray each to SS. Paul, Matthew, and Luke, on 
the left, and to Moses, John, and Mark on the right, each of whose books transmits a ray to the Dominican. The books of Plato 
and Aristotle also send him a ray, but his own book crushes the Arab philosopher, Averroes, whom he defeated in debate. It, with 
his other works, give light to the numbers of Dominicans gathered beneath his feet. 3) St. Benedict, from an old Breviary. 4) St. 
Chad of Lichfield with a model of his cathedral, from a modern stained glass window by Christopher Whall. 5) Pope Honorius 
III confirming the ‘‘Rule of St. Francis of Assisi’? (see page 130), by Domenico Ghirlandajo in Santa Trinita at Florence. 
6) St. Benedict, from the Guillaume Moreel altarpiece, in the Bruges City Museum. 





I2I 


THIS CHARMING PICTURE OF THE MADONNA IN GLORY, AGAINST A 
ROCKY AND UNDULATING LANDSCAPE, BY THE EXCELLENT UMBRIAN 
MASTER, BERNARDO PINTURICCHIO, IN THE NEW PALACE OF THE 
PODESTA AT SAN GEMIGNANO, GIVES US THE INTERESTING COM- 
BINATION OF POPE ST. GREGORY THE GREAT, ONE OF THE LATIN 
DOCTORS, AND ST. BENEDICT, AS THE FIRST ABBOT OF THE BENE- 


DICTINE ORDER. HE HAS AN ABBOT’S MITRE AND CROZIER, WHILE 
ST. GREGORY IS IN PAPAL ROBES WITH THE ‘‘TRIPLE CROWN.” 
THE ROCKS AT THE RIGHT REPRESENT THE CAVERN AT SUBIACO 
WHERE ST. BENEDICT IN HIS YOUTH LIVED AS A HERMIT, THIS PICTURE 
WAS EXECUTED FOR THE CISTERCIANS OF ST. BERNARD OF CLAIR- 
VAUX, AS THE PATRIARCH’S WHITE HABIT AND MITRE INDICATE. 


be 


“Complete Tables of Holy Personages and Saints 
classified in categories according to their habitual 
costume in pictorial representations. It is to these 
tables that the letters in parentheses following the 
names of Saints in this chapter refer. 

BENEDICTINES: Founded 529 A. D. by St. Bene- 
dict, General Patriarch of the order, and author of 
the famous ‘‘Rule of St. Benedict”? which was the 
governing law of nearly all monastic institutions for 
centuries. Irish monasteries, exceptionally, never 
accepted the Rule of St. Benedict. St. Benedict 
himself is shown in a black habit in pictures painted 
for the original order; in white, when the picture 
was for one of the reformed branches. 

The other Benedictine Samts who wear the 
monastic habit are always in black, such as St. 
Benedict (K.a.), St. Ildefonso, Archbishop of Toledo 
(C), St. Benedict Biscop or Bennet, (A) St. Cuthbert, 
Bishop of Durham (D), St. Benedict of Anian (K.a.), 
St. Dunstan, Archbishop of Canterbury (C), St. 
Giles of Edinburgh (H and K.a.), St. Bavon of Ghent 
(O), St. Scholastica (G.e.1.), the sister of the Patriarch, 
St. Guthlac of Croydon (K.a.), SS. Maurus and Pla- 
cidus (K.a.), the immediate disciples of St. Benedict. 
Besides these, there are a number of English and 
German Benedictine Saints, and of royal Saints 





122 


belonging to the first of the monastic orders. St. 
Helena (G.a.), who is said to have discovered the 
True Cross, and St. Alban (A.), the English pro- 
tomartyr, come first. St. Alban only seems to 
be commemorated in sculpture or stained glass. 
St. Benedict Biscop appears in a little print by 
Wenceslas Hollar. St. Austin or Augustine, first 
primate of Canterbury (C.) and St. Chad of Licb- 
field (D.) only appear, as far as I know, in sculpture 
or stained glass. A modern stained-glass window, 
representing St. Chad, is illustrated on Plate XX XV. 

The English Abbesses were important indeed in 
the history of their times, but in art they are rarely 
found save in local cathedrals, in the form of small 
pieces of high-relief sculpture. The most important 
were: 1) St. Ethelreda (G.a.), who was Queen of 
Northumbria, and built the Monastery at Ely. She 
was the first Abbess of the first Benedictine nunnery 
in England at Barking in Essex. 2) St. Ebba, who 
was the sponsor of Queen Ethelreda when she took 
the veil. 3) St. Werberga of Chester, (G.e.1.). 4) St. 
Hilda of Whitby (G.e.1.).. The chief German Bene- 


dictines whose effigies are met with in art are St. 





\ 


ST. ROMUALDO, WITH OTHER MONKS OF THE CAMALDOLESE ORDER, 
WITH THE PATRIARCH’S ASCENT TO HEAVEN IN THE BACKGROUND. 
BY ANDREA SACCHI, IN THE VATICAN. 


PeNiE XXX V1 THE SAINTS IN ART 





PESO DESIN THEILLVES 
OF SOME IMPORTANT 
MONASTIC SAINTS 
AND THREE DEVO- 
BIONALE PORTRAITS 










































































































































































































































































































































































pen 


1) St. Elisabeth of Hungary, by Holbein, in the Munich Gallery. She was a royal saint connected with the Franciscan Order. 
The beggars at her feet and white and red roses are her attributes in art. 2) St. Dominick clothed by Angels (see page 30), by 
a follower of Ambrogio Lorenzetti (early 14th Century), in the Berlin Museum. 3) St. Bernardino of Siena, with 
three mitres, symbolising the three bishoprics he refused. By Dario di Giovanni (w. 1420-1498) (Courtesy of the Kleinberger 
Galleries). 4) St. Anthony of Padua makes a mule kneel to the Host, by Gerard David, in the collection of Lady Wantage. 
5) The Death of St. Benedict, by Spinello Aretino (c. 1333-1410) in San Miniato, Florence. Note the carpeted way to Heaven. 
6) The Meeting of SS. Francis and Dominick at Rome in 1216, by Fra Angelico, in the Berlin Museum. The founders of the 
two great Mendicant Orders are accompanied by uncanonised monks, not SS. Anthony of Padua and Thomas Aquinas, as 
they are sometimes called. 7) St. Bernardino of Siena, with his tablet with the letters IHS (see page 32). 





123 




















ST. BERNARD OF CLAIRVAUX WRITING HIS BOOK ‘‘MISSA EST”? AT 

THE DICTATION OF THE VIRGIN MARY. A BEAUTIFUL PICTURE OF 

THE RENOWNED CISTERCIAN, WHO WAS UNQUESTIONABLY ONE OF 

THE GREATEST MEN OF THE MIDDLE AGES, BY FILIPPINO LIPPI, IN 
THE UFFIZI GALLERY IN FLORENCE 


Boniface (D), St. Sebald (M), and St. Benno (D), 
among the men, and St. Ottilia (G.e.1.), the German 
counterpart of the virgin St. Lucia, and St. Wal- 
burga (G.e.1.) among the women. 

Of the Royal Samts connected with the Bene- 
dictine Order, the most important are Charlemagne 
(O), who is seen on the extreme left of the wonderful 
“Coronation of the Virgin”’ by Fra Angelico in the 
Louvre (see Plate XII), St. Wenceslas of Bohemia (O), 
St. Henry of Bavaria (O), and his wife,- St. Cune- 
gunda (G.a), St. Leopold of Austria (P) (in prints or 
pictures of the German and Flemish schools), S¢. 
Ferdinand of Castile (P) (m Spanish pictures), and 
St. Casimir of Poland (P), St. Clotilda (G.a), wife 
of King Clovis, 1s found in French pictures. 

Now in about 983 A. D. the first serious attempt 
was made—apart from the worthy efforts of St. 
Peter of Cluny and his Cluniacs, who are hardly ever 
found in art—to reform the Benedictine monasteries 
and bring them back to the Jaw and order estab- 
lished by the Patriarch himself, and 30 years later, 
he who had fought for these reforms, despairing of 
ever cleansing the old monasteries, founded a new 
order, which he called the CAMALDOLESE after the 
Camaldoli family who were the original owners of 
the first monastery of the order. St. Romualdo 
(K.f.) was the founder of this branch of the Bene- 
dictines and ts the only saint it can claim. As in all 
the “‘ Reformed Benedictine” communities, St. Bene- 
dict is the patriarch. We illustrate here the famous 
picture of St. Romualdo by Andrea Sacchi in the 
Vatican. Don Lorenzo Monaco, the master of Fra 
Angelico, was a Camaldolese monk (see Plate III). 


124 


The habit is white, with white hood and white girdle. 

The next reformed Benedictine Order was that 
founded by St. Giovanni Gualberto (K.e.), called 
the Order of VALLomBrRosa, from its location in the 
hills near Florence. Its Saints are in addition to its 
founder, St. Bernard degli Uberti (K.e.), who ap- 
pears, not in his rightful cardinal’s robes, but as an 
Abbot, in Andrea del Sarto’s celebrated picture, 
but Perugino portrays him as a cardinal im his 
great “Assumption” in the Florence Academy. The 
Vallombrosan nun, St. Umilta (G.e.5.), is a subject 
for that rare Giottesque painter, Buffalmaco. This 
order was a great patron of famous artists, from 
Cimabué through Luca Signorelli to Andrea del 
Sarto and Perugino. St. Michael is its patron. The 
Vallombrosans wear a pale grey ash-colored habit. 

After the Vallombrosans came the CARTHUSIANS, 
founded by the Cologne monk, St. Bruno (K.f.), 
in 1084. This order again took its name from the 
site of its first monastery, the famous Grande 
Chartreuse, near Grenoble, nm France. St. Bene- 
dict is also the patriarch of this order, after 
whom its founder is venerated; then come Sz. 
Hugh of Grenoble (D), and St. Hugh of Lincoln 
(D). The Carthusian rule was stricter than any 
that had ever been used up to that time, even than 
that of the Camaldolesi, but these austere monks 





STUDY BY DOMENICHINO, FOR HIS FAMOUS 
OF ST. BRUNO 


(From a drawing in the collection of the author.) 


SERIES ON THE LIFE 


MADONNA AND CHILD BY GIOVANNI DI PAOLO (1403-1482) IN THE COLLECTION OF COL. MICHAEL FRIEDSAM OF NEW YORK. 
TYPICAL AUGUSTINIAN PICTURE, FOR EVEN THE GREAT DOCTOR WEARS HIS MONASTIC HABIT UNDER HIS RICHLY-EMBROIDERED COPE. 
AT THE LEFT IS ST. MONICA, THE PATRIARCH’S MOTHER, THEN ST. AUGUSTINE, AS ABBOT OF THE ORDER. FACING HIM ON THE OTHER 


SIDE OF THE MADONNA ARE ST. NICHOLAS OF TOLENTINO AND ST. JOHN THE BAPTIST. 
SAINTS ARE FOR THE AUGUSTINIAN HABIT WITH ITS LEATHER THONG GIRDLE IS DISTINCTIVE. 


were among the most generous and discriminating 
of art patrons. Zurbaran was a great painter of Car- 
thusians, particularly of St. Bruno, the founder, but 
the members of this order only appear quite late in 
sacred art, for St. Bruno was not canonised until 
1623, although he became a Beato about 1518. The 
17th-century French painter, Eustache Lesueur, 
painted a fine series of the life of St. Bruno. The 
Carthusians are easily distinguishable by their 
totally shaven beads, the only monks who did not 
retain all their hair save the tonsure. Their habit 1s 
full and white, and they have bare feet with sandals. 

And then came the greatest of all the Reformed 
Benedictines, the CisTERCIANS, of whom that mar- 
velous character, St. Bernard of Clairvaux (K.f.), is 
often thought to be the founder, though the original 
abbey of Cisteaux (or Citeaux) was built by Robert 
de Molesme in 1098. Nevertheless, St. Bernard is 
the great saint of the order, and in spite of Its 
extraordinarily brilliant membership, the only one 
who is at all prominent in works of art. One famous 
picture, reproduced here, shows the great orator 
writing his book “Missus est”? under the guidance 
of the Virgin. St. Bernard was of such great renown 
that he is classed among the fathers of the Church, 
and he is given the title of Doctor Mellifluus. The 
habit of the order is an ample white robe, with a hood, 
as in the picture on page 124. 


Bs 





THIS IS A 


THERE CAN BE NO DISPUTE AS TO WHO THESE 
(Courtesy of the Kleinberger Galleries) 


The OLivetans, founded by St. Bernard Ptolomei 
(K.f.), in 1319, took their name, once more from the 
site of their first establishment, upon the Mount of 
Olives near Siena. In pictures of this order, we find 
St. Benedict, in white, as the Patriarch, and St. Ber- 
nard de Clairvaux, the great Cistercian, who was 
the patron saint of his namesake of the Ptolomei. 
Other saints of this community were the Cardinal 
St. Charles Borromeo (E.), and St. Francesca Romana 
(G.c.1.) The Olivetan habit is also white, but the nun, 
St. Francesca Romana, is always depicted as a 
Benedictine, in black. 

St. Philip Neri (K.a.), the founder of the Ora- 
TORIANS, was the intimate friend of St. Charles 
Borromeo. It was a late Order, for Philip Neri only 
lived between 1515 and 1595. The Congregation— 
as It was called—of the Oratorians was only formed 
in 1575, so it never appears in early pictures of any 
school. The Oratorians wore the black habit. 

THe AUGUSTINIAN CANONS were, as already 
stated, churchmen, as distinct from cloistered monks, 
and claim that their order was founded, as a ceno- 
bitic community by the great “Doctor of Grace” 
himself, and, although the Church has not authorised 
that claim, there is no doubt that the Augustines go 
back to a very remote date. 

The original pretension of the Augustinians was 
even that the Apostles made a resolution to renounce 





ST. LORENZO GIUSTINIANI IN GLORY, SURROUNDED BY SS. AUGUS- 

TINE, FRANCIS, BERNARDINO OF SIENA, JOHN THE BAPTIST AND 

TWO MINOR CANONS, BY PORDENONE (1484-1539) IN THE VENICE 
ACADEMY. (SEE PAGE 128) 


all property, and that those who concurred in this 
agreement were the original founders of the Building 
Order. As this was, however, difficult to prove, the 
Augustinians put forward some three centuries later 
the absolute date of their foundation, basing their 
contention upon a famous letter of St. Augustine 
“De Moribus Clericorum” (On the Customs of 
Clerics), and his rogth epistle in which he laid down 
a rule of life for the religious women who lived and 
worked under his supervision. The fact that he 
wrote such a letter for such a purpose would seem to 
be some sort of evidence that Augustinian nuns at 
least did exist as a community, but on the other 
hand, it is difficult to understand how, if we allow 
this claim, history can record that St. Benedict’s was 
the senior order in point of foundation. The discus- 
sion does not properly belong here, but I have men- 
tioned it because of the fact that St. Augustine Is 
treated as the patriarch of the order and that SS. 
Anthony and Paul the Hermit, the earliest ceno- 


126 


bites, are very frequently found in works of art 
executed for the Augustinians. 

One of the meanings of the Greek word ‘‘ Kavov’’- 
is “‘list”’ and the ecclesiastics who served the earliest 
churches were called “‘canonici.”” In the 8th century 
a more definite meaning was given to the name by the 
efforts of the Bishop of Metz, one of the great Rhine- 
land clerics—the others being the Primates of 
Cologne, Coblentz and Treves—-who formed his 
clergy into a community, bound by a rule—which ts 
the truest sense of the word Kévov—under which they 
lived in common in the same way as the Benedictine 
monks. This did not, however, Jast long and the 
common property upon which all had lived on equal 
shares was divided up into prebends, one for each 
canon. Until the monk has acquired his prebend he 
is known as a Minor Canon. 

The general aspects of all of these in art have 
already been described. 

The habit of the Augustinians is easy to recognise 
for while it is black like that of the Benedictines it is 
bound at the waist by the distinctive leather girdle with 
its circular ivory buckle. (See Page 125.) The Nuns 
of the order also wear a black robe with a white veil, 
and sometimes a grey mantle over It. 

St. Augustine in monastic pictures is frequently 
shown without the rich episcopal vestments which 
he wears as one of the Four Doctors of the Church, 
and appears instead in the habit of his order. Some- 
times, as in the Giovanni di Paolo picture on page 
125, he wears his cope and mitre over his black 
habit. 

After the Patriarch, the next in Importance Is 
St. Nicholas of Tolentino (K.a.), who was young 
and eager, and fasted so assiduously that he grew 
weakened and finally died of exhaustion. A miracle 
is told of him that when a dish of doves was brought 
to him im his sickness, he scolded those who had 
sought thus to tempt him, and stretching his hand 
over the dish, the birds took life again and flew away. 
This episode is sometimes seen in art. (Picture by 
Garofalo in the Leuchtenberg Gallery.) 

St. Patrick and St. Bridget are both Augustinian 
Saints. The former is represented either as a Pilgrim- 
Missionary, and the great Apostle of Christianity in 
Erin, or as Primate of the Irish Church in full 
canonicals. As the missionary he wears the habit 
of his order with the staff and wallet of all pilgrims; 
beneath his feet is a serpent, and he holds a gospel 
in his hands. As an Archbishop he wears the pal- 
ltum, and a neophyte glances up adoringly at him. 

I know of no old pictures in which St. Bridget of 
Ireland appears, but if there should be any such, 
this saint, so popular among her countrymen, should 
wear the black habit with the long white veil and 
should hold a cross and Jamp in her hands. 

St. Thomas of Villanueva was a late saint only 
canonised in 1688, and so does not appear In any 
works prior to that date, and then only in Augus- 


le OE KOOL THE SAINTS IN ART 


THREE FAMOUS NUNS, AN INTERESTING 
GROUP OF MISCELLANEOUS SAINTS, A 
NARRATIVE PICTURE OF A MARTYRDOM, 
AND A FRANCISCAN VOTIVE MADONNA. 


Upper left: St. Monica, the mother of St. Augustine, as an Augustinian Nun, attributed to Francesco Botticini, in the 
Florence Academy. Centre: SS. Albert of Vercelli, founder of the Carmelite Order, Sigismond of Burgundy, Vitus, and Wen- 
ceslas of Bohemia. From the Prague Missal, 1507. Right upper and centre: Two depictions of St. Clara of widely different 
schools, the first by Simone Martini (1285-1344) of Siena, in San Francesco of Assisi, the other by Hans Memlinc of Bruges. 
Lower left: The Assassination of St. Peter Martyr, by Cariani (c. 1480-1544) in the National Gallery, where it is attributed to 
Giovanni Bellini. Lower right: Madonna and Child, with SS. Anna and Joachim and four Franciscans, by Alvise Vivarini 
(w. 1461-1503) in the Venice Academy. The Saints are Louis of Toulouse, Anthony of Padua, Francis, and Bernardino of Siena. 





jody: 





PAUL VERONESE’S FAMOUS “VISION OF ST. HELENA” WHICH LED 
TO HER DISCOVERY OF THE “‘TRUE CROSS” IN 326 A. D. (SEE 
PLATE XXXVIII). SHE WAS THE MOTHER OF THE ROMAN EM- 
PEROR CONSTANTINE THE GREAT, WHO MADE CHRISTIANITY THE 
OFFICIAL RELIGION OF THE EMPIRE AFTER HIS DEFEAT OF 


MAXENTIUS AT THE MILVIAN RIDGE IN 311 A.D. (In the 


National Gallery, London.) 


tinian edifices, mostly m his native Spam. He was 
Archbishop of Valencia in 1544, and was a munificent 
and enlightened patron of the Arts and Sciences. He 
is nearly always depicted in the act of bestowing 
alms. 

St. Jobn Nepomuck (K.a.), Patron of the Jesuits 
and of bridges and rivers in Bohemia and Austria, 
was still another Augustinian. He was the confessor 
of the Empress, and her husband Wenceslas, wishing 
to know what she had told him in confidence, put 
him to torture and then had him thrown into the 
Moldau River when he steadfastly refused to violate 
his oath. Five stars arose over the spot where his 
body had sunk, and they or a padlock on his lips form 
his attribute in both sculpture and painting. He was 
not canonised till 1729. 

St. Lorenzo Giustiniani (K.1.), of whom a fine 
picture by Pordenone in Venice is shown on page 126, 
was born in 1380, but not canonised until 1690. He 
is seen in a white surplice with a tight blue cap, 
with two of his juniors, while around him are St. 
Augustine, two Franciscan Saints and St. John the 
Baptist. The Franciscans are St. Francis himself, 
and Bernardino of Siena carrying his usual tablet. 
Mrs. Jameson says that three Austin Canons are 


128 


looking up at the first Patriarch of Venice, with St. 
John the Baptist, St. Augustine and St. Francis! 
Mrs. Jameson can never have seen the picture for 
there are only the two minor canons kneeling at the 
foot of the Saint’s pedestal, while St. Francis is in 
his usual attitude of profound humility before the 
Lamb, held by the Baptist; St. Bernardino looks out 
of the picture and St. Augustine, looking at St. 
Lorenzo, points also at the Lamb. The Patriarch is 
here depicted so youthful that were it not for the 
black gown and surplice beneath the rich cope of 
the Bishop, one would take him for St. Louts of 
Toulouse, the famous Franciscan. 

The women of the order are SS. Monica, the 
Patriarch’s mother and Rosalia of Palermo. Clara 
of Monte Falco was never canonised, and her proper 
title is simply “Beata Clara of the Cross of Monte 
Falco.”” St. Monica is dressed as described when 
reference was made above to the picture by Gio- 
vanni di Paolo, though as a general rule she wears no 
lighter-colored cloak over the black. She is shown as 
an older woman. She is rarely seen except in pictures 
which comprise her famous son, or their wings. (See 
Plate XX XVII.) St. Rosalia was only canonised in 
1628 and is represented recumbent and semi-nude in 
the cavern which was her home for so many years. 
She Is enveloped ina supernatural light with a crucifix 
pressed to her bosom. She often wears a crown of 
roses, but cannot be confused with the earlier saints 
who are given the same adornment, e. g., St. Cecilia. 

Now in 1119 an Augustinian Canon, St. Norbert, 
kin to the Holy Roman Emperor, Henry IV, who 
like the Benedictine, St. Romualdo, was displeased 
with the Jax morals of the monks of the old Order, 
formed around him a new group of 13 companions 
and built a monastery at a place called Premontré 
in the famous forest of Coucy near Laon, and gave 
his new community the long name of PREMON- 
STRATENSIANS. Their habit is a white woolen cloak 
over a black tunic, and a white four-cornered beret, a 
cap of the shape worn by Cardinals and Monsignori 
in other colors. The Augustinian Canons wore this 
beret in black. During the lifetime of its founder the 
order grew to a membership of twelve hundred. They 
are known in England as the White Canons in oppo- 
sition to the Augustinians proper, who are called the 
Black Canons. The beautiful Abbey of Welbeck, 
now the seat of the Duke of Portland, was one of 
the monasteries of this order. St. Norbert is repre- 
sented in art rarely, except in German pictures, as 
Archbishop of Magdeburg, where he died in 1134. 
Barend van Orley painted a picture, nowin Munich, 
of this Saint debating with the heretic Tankelin. He 
sometimes has a fettered demon at his feet, but that 
attribute is hardly distinctive, for it may be given to 
all hermits, monks, and others specially famed for 
having conquered the temptations of the outer world. 





Notre—All the Monastic Saints are listed with their dates, 
orders and individual symbols and attributes in Sections C, D, GC, 
(Female) or K (Male) of the Classification by Costume, pages 
145-152. For further information consult INDEX. 


St. Hermann-Joseph is the only other saint of the 
Premonstratensians. Van Dyck, in the Vienna 
Gallery, has portrayed him in the habit of his order 
presented by an angel to the Virgin Mary. 

The next senior order of Reformed Augustinians 
was that of the Servites, as we call them, or the 
SERVI or SERvITI In the Italian vernacular. It was 
founded in 1233 by a group of seven sons of wealthy 
Florentine Merchants, some of whose names are still 
famous today: Monaldi, Manetti, Amidei, Lantella, 
Ugucciont, Sostegni, and Alexis Falconieri,* who lived 
to the extraordinary age of 110 years, and was the 
uncle of St. Juliana Falconiert who founded the 
Third Order of Servites. Let me mention here that 
the Third Orders or Tertiaries of the great monastic 
communities, of which the most famous was that of 
St. Francis who founded the first of them, were com- 
posed of men and women who, while not renouncing 
the world, devoted themselves to charitable works 
and the good of their communities, and undertook 
to dress more soberly, to fast more strictly and to 
pray more regularly than other people. The name 
“Third Order” was given to this group of religious 
minded as the third in succession of the date of foun- 
dation. First St. Francis established his great order 
of Friars, then the Poor Clare Nuns were founded 
by St. Clara, and then these men and women of the 


ve 





SASSETTA, A NOTED SIENESE PAINTER (1392-1450), HERE DEPICTS 

THE LEGEND OF ST. FRANCIS AND THE THREE MAIDENS, CHASTITY, 

OBEDIENCE AND POVERTY, THE “SUM AND BEAUTY OF EVANGELI- 

CAL PERFECTION,’ WHOM HE ESPOUSED. ABOVE THEY ARE SEEN 

FLOATING AWAY AGAIN. THIS PICTURE, FORMERLY THE PROPERTY 

OF PRINCE DEMIDOFF, IS NOW IN THE MUSEE CONDE AT CHANTILLY, 
WHERE IT IS ATTRIBUTED TO SANO DI PIETRO. 


129 








ONS AND CHILD WITH ST. BERNARDINO OF SIENA BY MARCO 
D OGGIONE. THE SAINT IS ALWAYS RECOGNISABLE BY HIS VERY 
EMACIATED FACE—IT IS A PORTRAIT—AND HIS TABLET WITH THE 
INSCRIPTION “‘I HS,” GIVING FORTH RAYS OF LIGHT. (Courtesy of the 
Ehrich Galleries.) 

world which numbered many thousands, particularly 
among the Franciscans. Third Orders were subse- 
quently established by the Dominicans—about 1220 
—the date is now known, but the Dominican nuns 
having been founded mm 1218, and St. Dominick dying 
in 1221, it was probably between these years**—the 
Augustines in the middle of the 15th century, the 
Minims of St. Francis de Paula in 1401, the Servites, 
Carmelites and the Trappists. 

But to return to the Servites. They were so called 
because they constituted themselves the “‘ Religious 
Servants of the Holy Virgin,” after a legend according 
to which they were greeted in these terms by the 
babes in arms of Florence. They were the patrons 
of Andrea del Sarto in respect of his world-renowned 
“Rest in Egypt,” better known as the Madonna del 
Sacco, in the Church of the Annunziata in Florence. 

The first General of the Order was one of the 
seven founders, Bonfiglioli Monaldi, but he who is 
treated as its founder and chief saint — though 
in reality he was the fifth general and only jomed 
the order 14 years after its institution (1247)—1s 
St. Philip Benozzi, its only canonised samt. The 
Servi wear the black Augustinian habit. (A series of 
frescoes by the late 16th century Italians: Salembeni, 
Pocetti, and their group of mannerists.) In 1484, the 
Servites were placed among the Mendicant orders 
and were thenceforth styled “Frati” or Friars, 
instead of Monks as they had been up till that time. 


*This list is given by the official Catholic Dictionary and 
Currier’s History of Religious Orders. Mrs. Jameson omits 
the names of Lantella and Uguccioni, and inserts instead those 
of Benedetto Antellesit and Ricovero Lippi. 

**There was no written Rule until 1405. SS. Catherine of 
Siena and Rosa of Lima belonged to the Third Order of St. 
Dominick. 





MURILLO’S FAMOUS ST. RODRIGUEZ, IN THE DRESDEN GALLERY. 
THE SPANISH MARTYR OF THE 9TH CENTURY IS GARBED IN A 
SPLENDID CHASUBLE STILL TO BE SEEN IN SEVILLE CATHEDRAL 


The habit of the Servites was the black Augustinian robe 
with leather girdle, scapulary and cope. 

The TrINITARIANS were founded by St. Jobn de 
Matha and a French hermit named Felix of Valois in 
1198, for the purpose of redeeming Christian captives 
from the Moors, Barbary pirates and other infidels. 
It is stated that they actually saved 30,720 Chris- 
tians from the horrors of Moslem servitude. Their 
habit is a gown and scapular of white serge with a 
red and blue cross on the right breast or shoulder. 
In England they were known as the Maturin or Red 
Friars, the latter from the predominant color of the 
Cross. The founder, and St. Felix de Valois and St. 
Radegunda are their only canonised Saints. 

St. John de Matha in the habit of his order 
appears In art with fetters mm his hand or at his feet, 
while an angel leading two captives, one black and 
one white, 1s in the background. 

St. Felix de Valois is shown as an Augustinian 
hermit, seated near a fountain at which a deer is 
drinking. 

St. Radegunda, a royal princess, appears wearing 
her crown over a long white veil with a captive at her 
feet, whose fetters she holds in her hands. Do not 
mistake for St. Elisabeth of Hungary and her leper. 


130 


Our Lapy oF Mercy, originally a military order, 
was instituted by St. Peter Nolasco in 1218 with the 
same purpose in view as the Trinitarians. Their 
habit 1s again white but is distinguishable from other 
white-gowned monks by the coat of arms of King 
James I of Aragon, “El Conquistador,’ “Paly of 
eight, argent and gules; on a chief of the first a cross 
patée of the second,” in other words, of eight vertical 
stripes, alternately silver and red; on a silver band 
(one-third of the shield in depth) at the top, a red 
cross with its ends splayed. (See Plate XX XIX.) 

St. Peter Nolasco was only canonised in 1628. He 
is always represented as an old man, sometimes 
borne by angels who are carrying him to the altar. 
The famous convent of La Merced in Seville filled 
with pictures of this Saint should be seen by all 
travelers in Spain. 

St. Raymond Nonnatus or San Ramon was of this 
order and was created a Cardinal in 1240. The pad- 
lock which seals his lips is not here a symbol, as in the 
case of St. John Nepomuck, but refers to the actual 
torture applied to him while a prisoner of the infidels. 

The last of the Reformed Augustinians need 
detain us but an instant. The BricitTINEs were 
founded by St. Bridget of Sweden, not of Kildare as 
is often believed. 

And now we 
come to the great 
Mendicant Orders, 
the FRANCISCANS, 
founded In 1209, and 
officially confirmed a 
year later, and the 
Dominicans,  foun- 
ded in 1213. and 
authorised by Pope 
Honortus III in 1216. 
after a miraculous 
vision similar to that 
which had _ caused 
him to yield to the 
prayers of St. Francis 
of Assist for the of- 
ficial recognition of 
bis order. The Fran- 
ciscans were govern- 
ed by a rule drawn 
up by the Patriarch 
himself, the terms of 
which prescribed a 
vow of perpetual 
poverty—a symbol 
of spiritual lowli- 
ness—the means by 
which this vow was 
to be carried out; the 
dress to be worn; 
and so forth through- 
out a list of twenty- 
seven precepts. 





THIS FINE ST. DOMINICK BY CARLO 
CRIVELLI IS IN THE METROPOLITAN 
MUSEUM. NOTE THE LILY, THE DIS- 
TINCTIVE HABIT, AND THE MARVEL- 
LOUS TECHNIQUE DISPLAYED IN THE 
PAINTING OF THE HEAD AND HANDS 


oe 





od be, a2 a z 
ST. PETER MARTYR, BY FRA ANGELICO, IN THE SAN MARCO CONVENT 
AT FIESOLE. NOTE HIS BLEEDING HEAD, HIS STERN FACE—HE WAS 
INQUISITOR-GENERAL—AND HIS FINGER ON HIS LIPS. (SEE ALSO 
PLATE XXXVII AND PAGE 132) 


The Franciscan habit was ordered to be a grey 
gown of coarse cloth, with a pointed hood or 
capuche—whence the name of Capuchins given to a 
Franciscan offshoot of the 16th century—a knotted 
cord girdle, representing the halter of a beast of 
burden—another symbol of the extraordinary hu- 
mility of St. Francis—and bare feet, or shod only with 
a wooden sandal. This last item of the Franciscan 
habit distinguishes them immediately from all other 
monks and friars, except the Carmelites—whose 
. OU Ggeemee ~=habit prevents 
any confusion 
with the Fran- 
ciscans—and 
the Trappists, 
founded In 
1660, who do 
not appear at 
all in art. We 
can then say 
with safety 
that any bare- 
footed friar m 
pictures, up to 
the end of the 
16th century at 
least, is a Fran- 
ciscan. In the 
14th century 
the color of the 
Franciscan hab- 
it was changed 
from grey to 
brown, so that 
from about 
1420 onwards 
we generally 
find the Saints 
of the order in 
the latter color. 

St. Francis 
of Assisi Is one 
of the great fig- 


Be 








ee ee ee 


THE TRIUMPH OF ST. THOMAS AQUINAS OVER 
GUILLAUME DE SAINT AMOUR, A DOCTOR OF 
THE UNIVERSITY OF PARIS. BY BENOZZO 
GOZZOLI (1420-1497) IN THE LOUVRE. BELOW 
IS SEEN THE FAMOUS DISPUTE BEFORE POPE 
ALEXANDER IV IN 1256 


jae | 


ures in all Italian Art, and he is represented‘in a vast 
number of connections, sometimes throned as the 
Patriarch of the Order, or as one of the saints sur- 
rounding the Madonna; at others, performing some 
one of the acts of humility and charity which he 
had made the guiding principle of life for himself 
and his followers. A few of the most important of 
these episodes are St. Francis preaching to the Birds; 
his espousal of Faith, Hope and Charity in the forms 
of three maidens (Picture by Sassetta, on page 129), 





A CHARACTERISTICALLY SPANISH PICTURE OF THE FAMOUS 
SPANIARD, ST. DOMINICK, BY THAT MOST ORIGINAL OF GREAT 


MASTERS, DOMENICO THEOTOCOPULI, KNOWN AS EL GRECO, OF 
TOLEDO (Cc. 1548-1614). (Courtesy of the Ebrich Galleries.) 


and the miracle of the Stigmata (see Plate VII). 
St. Francis being always recognisable by the im- 
print of the wounds of Our Lord (Stigmata) on his 
hands, feet and right side, it is unnecessary to go any 
further into the artistic appearances of this famous 
man whose personal example and teaching had so 
profound an effect on all the men and women of his 
generation. 

Following the Patriarch, St. Francis, who ts also 
called the Seraphic Father—the Franciscan is known 
as the Seraphic Order—come St. Anthony of Padua 
(K. b. and d.), who is generally seen with St. Francis 
and is the next most important to him in the 
order; St. Bernardino of Siena (K.b. and d.) is always 
recognisable by his lined, emaciated face and his 
tablet shedding rays and bearing the inscription 
I.H.S. (see Page 34); St. Bonaventura (E), theSeraphic 
Doctor, whose Cardinal’s hat distinguishes him from 
the other Franciscan saints; and St. Louis of Toulouse 
(D), who occurs very frequently, always in his episco- 
pal robes strewn with fleurs-de-lys, and generally with 
a rejected royal crown at his feet. St. Louis of France 


RLM III RO INSP 





THE MADONNA AND THE GREAT NUNS, ST. THERESA, WHO FOUNDED 
THE BAREFOOTED CARMELITES, WITH A CROWN OF THORNS; ST. 
CLARA, FOUNDER OF THE POOR CLARES; AND ST. CATHERINE OF 
SIENA; BY TIEPOLO (1696-1770) IN THE CHURCH OF THE GESUATI, 
OR MADONNA OF THE ROSARY, IN VENICE 
is always in royal robes and crowned, which prevents 
confusion with his nephew. And a number of minor 
saints, e. g., Ives of Brittany (J), an advocate, and, 
Eleazar de Sabran (J), who with the two female 
saints, Margaret of Cortona, and Rosa of Viterbo 
(G.e.4) were all members of the Third Order, dis- 
tinguishable by the knotted cord girdle even over a 
secular dress. SS. Jobn Capistrano and Peter Rega- 
lato are Franciscan Saints. SS. Juan de Dios, Felix 
of Cantalicio, Peter of Alcantara and Diego of Alcala 
(all K.b.) appear only in Spanish works by such 
painters of friars as Ribera and Murillo. Among the 
female saints of the order are Santa Clara (G.e.2), the 
Seraphic Mother, the first Franciscan nun, who 
founded the sisterhood of the Poor CLares, and St. 
Elisabeth of Hungary (G.a.), the beautiful wife of 
the young Landgrave Ludwig of Thuringia, who stand 
among the Franciscan saints as the symbol of female 
charity, and is one of the most popular saints in the 
calendar. 

In 1436, St. Francis de Paule founded the re- 
formed order of Franciscans, known as the MINIMEs, 
of which the rules were even stricter than those of the 
parent body. The habit is a dark brown tunic with 
the usual knotted cord girdle of the Franciscans, but 
there 1s m addition a short scapulary with rounded 


corners which comes down to below the girdle, and 


ise) 


which has a small round hood at the back to be 
drawn over the head as a protection against the 
weather. St. Francis de Paule is never in early 
pictures, for he was only canonised in 1519, but 
Murillo and Ribera have painted him many times. 

The order of St. Francis was entrusted by a Papal 
Bull of 1342 with the guardianship of the Holy Places 
in Jerusalem and they still retain that privilege. It 
was a Franciscan Friar, Juan Perez, who espoused 
the cause of Columbus and used his influence, as 
confessor to Queen Isabella, to obtain her support 
for his friend’s expedition. He also went to America 
himself m 1493 and founded the first Christian 
Church of the New World in Haiti. The Osser- 
VANTI, a Franciscan reform order, performed a 
similar service with Cortez in Mexico in 1523, and 
then made their way further north under the great 
missionary leader, Martin da Valenza, and estab- 
lished missions in New Mexico (1580), Texas (1600), 
and lastly in California in 1769. Many of the Fran- 
ciscan Missions in the last-named State are still in 
existence. Spanish Franciscans wear a grey tunic like 
the earlier members of the order in Italy. 

The Dominicans wear a white woolen habit and a 
white scapular, the whole covered by a black cloak. In 
1215, St. Dominick founded his order, placing it under 
the rule of St. Augustine, with many of Its statutes 
borrowed from the Premonstratensians. It recerved 


























TITIAN’S GREAT PAINTING “‘THE ASSASSINATION OF ST. PETER 

MARTYR”? WHICH USED TO BE IN THE CHURCH OF SS. GIOVANNI E 

PAOLO IN VENICE, BUT WAS DESTROYED BY FIRE. (SEE ALSO PLATE 
XXXVII.) 


PLATE XXXVIII THE SAINTS IN ART 





















| NARRATIVE 
| PICTURES 
OF INCIDENTS 
IN THE LIVES 
OF LEADING 
MONASTIC 
SAINTS AND | 
TWO DEVO- | 
TIONAL REP- | 
RESENTATIONS 


a ee 


Upper left: St. Edward the Confessor, patron of England before St. George. Right: St. Catherine of Siena swoons on re- 
ceiving the Stigmata; by Il Sodoma in S. Domenico at Siena. The two long pictures: St. Helena superintends the excavations 
for the True Cross. Below: The Jew who led her to the spot tests which of the three crosses was that of Jesus by laying them 
upon a crippled woman. The True Cross made her whole. Ferrarese School, 15th century (courtesy of the Ehrich Galleries). 
Middle right: St. John of God (Juan de Dios) curing a cripple, by Murillo, in the Munich Gallery. Low left: Andrea del Sarto’s 
famous Madonna delle Arpie, in the Uffizi. The Saints are Francis of Assisi and John the Evangelist. 


133 


the title of Fratres Predicantes, or Preaching Friars. 
It was not intended at first to make the Dominicans 
a mendicant order. Indeed, five years after its 
institution, the Order was very wealthy and 
had chapter houses at Paris, Metz and Venice. 
But in 1221, at a council held at Bologna, it 
was decided to follow in the footsteps of St. 
Francis of Assisi, and renounce all worldly 
possessions. In England, the Dominicans are 
known as Black Friars, from the color of their 
cloak. St. Dominick is as easily distinguishable in 
art as his contemporary, St. Francis, by his black 
cloak over the white habit and scapular, his rapt 
expression, the star either in his nimbus or on his 
shoulder, and his lily symbol. We cannot go, here, 
into the politico-religious missions of this noble scion 
of the great Spanish house of Guzman, who 
played so important a part in the crushing of the 
Albigensian heretics in the first decade of the 13th 
century. It was during his sojourn in the country 
of the Albigenses, prior to their actual outbreak, 
that he invented the Rosary, which was simply 
a new arrangement of the bead chaplets used Jong 
before by the monks of many orders and religions, 
both Christian and non-Christian. In 1218, he 
founded the order of Dominican Nuns, and shortly 
after, as already explained, the Third Order of St. 
Dominick was instituted. 

The most important Saints of the Dominican 
Order, after the founder and patriarch himself, are 
St. Peter Martyr (K.k.), always recognisable by the 
gash in his head, or sometimes an axe sticking in it, 
or again pierced by a sword, with a gashed head; as 
in a picture by Botticini in the Berlin Gallery where 
he is with SS. Anthony, Lawrence and the Archangel 
Raphael and the young Tobias; St. Thomas Aquinas 
(K.k.), the Angelic Doctor, the thinker of the Order— 
as St. Bonaventura was the Iearned member of the 
Franciscan Order—who always has either a rayed 
sun on his chest or is holding in front of him a book 
from which are issuing rays of light, as in the “Apoth- 
eosis of St. Thomas Aquinas” by Benozzo Gozzoll, 
in the Louvre (see page 131), or with a chalice, in 
recognition of the fact that he composed the office of 
the Holy Sacrament which is still in use; St. Ray- 
mond of Pefiaforte, St. Vincent Ferraris (both K.k.), 
who sometimes wears wings, and St. Antonino, 
Bishop of Florence (D), all three of whom are 
only found in fairly late pictures. The Spanish 
Dominicans are St. Rosa of Lima (G.e.6), St. Pedro 
Gonzales, and St. Louis Beltran. 

The great female Saint of the Order is St. Catb- 
erine of Siena (G.e.6), of whom mention was made 
in previous chapters (see Index). She is said to have 
dreamt that the Saviour had chosen her as his 
spouse, and like her namesake of Alexandria, she 
figures in “‘Mystic Marriage”’ subjects. (See pages 
97 and 98.) She is also believed to have received 
the Stigmata, and a famous picture by Sodoma in 
Siena represents her fainting as she perceives the 


134 


divine contact (See Plate XXXVIII). There is 
no doubt that St. Catherine was a very remarkable 
woman, who devoted her life from childhood to the 
service of God and cheerfully underwent self- 
denial in all its forms, while at the same time 
fulfillmg the purpose of her Order by her prayers 
and eloquence. She saved the _ Florentines, 
who had been excommunicated for rebelling 
against the papal authority in 1376, and later 
induced the Pope, who was then in _resi- 
dence at Avignon in France, to return to Rome. 
During the “Great Schism,” the Roman Pope, 
Urban VI, wished to send this brilliant nun as an 
Ambassadress to the dissolute court of Joanna II of 
Naples, but, as no others could be found willing to 
share with her the dangers of the journey, the mis- 
sion was abandoned. St. Catherine of Siena died in 
1380. She was only canonised, however, in 1604, so 
she is rarely met with mn very early art. 

Other saints of the Order whose names will be 
found in the Tables, pp. 145-152 at the places 
indicated after them here in brackets, are St. 
Hyacinth (K.k.) and St. Agnes of Monte Pul- 
ciano (G.e.6), and Albertus Magnus (K.k.), the 
master of St. Thomas Aquinas, who, though 
never canonised, is sometimes treated as a saint 
and introduced in his habit, as a pendant to his 
famous pupil, e.g., two pictures by Fra Angelico in 
the Florence Academy. 

Nowaround 1150A. D.,acrusader named Berthold 
vowed that if God should give victory to Christian 
arms In a certain battle, he would embrace a religious 
life, and in 1156, following a vision to him of the 
prophet Elijah, went and dwelt upon Mount Carmel, 
near Acre in Palestine, upon which the Prophet had 
once gathered together “‘all the people of Israel” 
(Kings III, xvut:19). Thus started the Car- 
MELITE OrpER. Berthold took up his abode in the 
old cavern of Elijah around which stood an ancient 
monastery of unknown origin. In 1209 St. Albert of 
Vercelli (D), patriarch of Jerusalem, compiled a Rule 
for the community of hermits which Berthold had 
gathered around him and many who were there 
before he arrived. The rule was very severe, for- 
bidding the holding of property, denying to its 
adherents any use of meat whatsoever, and enjoin- 
ing upon them continuous manual labor and per- 
petual silence. Their habit is a brown frock with white 
scapular and white cloak. 

Their Patroness is the Blessed Virgin, who is 
called Madonna del Carmine in all Carmelite con- 
vents when She is depicted with Her mantle wide- 
spread over the friars of the order. Their founder is 
considered to be, not the Crusader Berthold, but St. 
Albert, just mentioned, and the other Saints of 
the Order are St. Theresa (G.e.3), founder of the 
BAREFOOTED CARMELITES, St. Maria Maddalena dei 
Pazzi (G.e.3), SS. Angelus (K.c.), Juan de la Cruz 
(K.c.), and Andrea Corsini (D). 

The Jesuits, founded in 1534 by St. Ignatius 


PeASDE XOEXTX THE SAINTS IN ART 


Se VEO WHER PIGTURES 

ILLUSTRATING LEGENDS OF 

PeawOUS MONASTIC PER- 
SONAGES 





1) St. Francis appears in a vision to the monks of his Order: a picture by Fra Angelico in the Berlin Museum. 1A) Peter 
Igneus, a Vallombrosan monk, walks through fire, with St. John Gualberto at the left. By Andrea del Sarto in the Florence 
Academy. 2) The Assumption of St. Clara. attributed to Tiepolo, formerly in the Catholina Lambert Collection. The Saint 
is an Abbess, as the pastoral staff held by the angel proves. 3) A portrait by Zurbaran (1598-1662) of Dom Miguel del Pozo, 
a Spanish monk of the Order of Our Lady of Mercy. Note the arms of E/ Conquistador. (See page 130.) (Courtesy of the Ehrich 
Galleries.) 4) St. Elisabeth of Hungary heals the Leper, by Murillo, in the Academy of Fine Arts in Madrid. 5) St. John 
Gualberto, as Abbot of Vallombrosa, by Fra Angelico. 6) The famous Vision of St. Anthony of Padua, by Murillo, in the 
Berlin Gallery. 





135 


Lovola (K.a.), had little influence on Art. Their 


principal saints after the founder are St. Francis 
Xavier (K.a.), the great missionary who landed at 
Kagoshima in Japan in 1449 and converted an im- 
mense multitude to Christianity; St. Francis Borgia, 


A BEAUTIFUL NATIVITY BY GUIDO RENI IN THE COLLECTION OF 
HIS EMINENCE CARDINAL HAYES, ARCHBISHOP OF NEW YORK. 
(Courtesy of the Ebrich Galleries.) 


St. Stanislas Kotzka, and St. Louis Gonzaga (all in 
Kiass 

Other Orders need not occupy our attention, for, 
while in many cases they are of great interest from a 
religious and even a political standpoint, they have no 
bearing upon that which has been our aim throughout 
this book, namely, a better comprehension of pictures 
executed between the Fifth and the Sixteenth 
Centuries, the Jast three of which constitute what 
has been called the Second Age of Pericles or 
Augustus, the Golden Ages of things of the Intellect. 





A SMALL PANEL ENTITLED “THE THREE MIRACLES OF ST. ZENO- 

BIUS,” BY BOTTICELLI, HANGS IN THE METROPOLITAN MUSEUM. 

It AFFORDS A GOOD EXAMPLE OF THE PAINTING OF SEVERAL 

SCENES OF A SAINT’S LIFE IN THE SAME PICTURE. (SEE PAGE 
98, FOOTNOTE. ) 





136 


CHARTERS 


HisroricAL oR NARRATIVE PICTURES OF THE LIFE 
OF CHRIST AND THE VIRGIN Mary. 


Although it may safely be said that the major- 
ity of sacred pictures come within the scope of the 
preceding chapters, either as devotional representa- 
tions of Our Lord, His Mother, or the Saints in 
their different aspects, or as narratives of the lives 
of the Saints, there are three groups of works which 
are also very numerous, namely: Depictions of in- 
cidents in the lives of the Saviour and His Mother, 
treated historically, rather than in a devotional 
manner; scenes from the Old Testament, such as 
those in the Garden of Eden, and the Sacrifice of 
Abraham’s son, Isaac; and, thirdly, such mystic 
events as the Last Judgment, and pictures of 
Heaven, Purgatory, and Hell. 


Taking first the history of the Virgin Mary and 
her Divine Son, we have simply listed the princi- 
pal episodes which are to be found in art, for the 
pictures, being in themselves illustrations, explain 
themselves quite distinctly to whomsoever is ac- 
quainted with the Scriptures. The series of narra- 
tive pictures of the Virgin Mary and Jesus Christ 
commences with the legend of Joachim and Anna, 
and closes with the Coronation of the Virgin. 
They will be found below, listed in chronological 
order, with such notes as may be of service to 
those who are interested in this class of picture. 


1) THe Reyecrion oF JOACHIM, THE VIRGIN’S 
FUTURE FATHER, FROM THE TEMPLE. Joachim, bemg 
childless, but very wealthy, brmgs a double offer- 
ing to the High Priest, that he may find favor in the 
sight of the Lord. His gift is rejected, for “It is 
not lawful for thee to bring an offering who hast 
not given a son to Israel”. Famous pictures by 
Quentin Matsys, in the Brussels Museum; by 
Domenico Ghirlandajo, in Santa Maria Novella 
in Florence; by Bernardino Lumi, m the Brera, 
and many others. (See Plate XL.) 


2) THe ANNUNCIATION TO JOACHIM’ TENDING HIS 
FLOCKS IN THE HILLS. Joachim upon his rejection 
from the temple, went up into his pastures in the 
foothills, and lived in a hut, fasting for forty days and 
forty nights. Frescoes by Taddeo Gaddi in the Baron- 
celli chapel, and by Giotto in the Arena at Padua. 


3) Tue MEeEtiINnG oF JoacHim AND ANNA. Pictures 
by Carpaccio in the Venice Academy, and Ridolfo 
Ghirlandajo for the Servites in Florence. 


4) Tue BirtH or THE VirGIN Mary. This episode 
has, of course, been treated by a thousand painters. 
One of the best-known works is by Domenico Ghir- 
Jandajo in S. Maria Novella in Florence. (See Plate 
XI} 


5) THe PRESENTATION OF THE BLESSED VIRGIN IN 
THE Tempe. ‘This incident took place when she 
was three years old, but she is almost always de- 


le Bele THE SAINTS IN ART 


LAEAAELAAA LARA RARER 








1) Joachim’s offering refused by the High Priest (page 136), by Quentin Matsys (1460-1530), in the Brussels Museum. 
2) Titian’s (1477-1576) celebrated ‘Presentation of the Virgin Mary” in the Venice Academy. Note the fifteen steps (page 
138). 3) The “Education of the Virgin:’ A 16th century stone statue. (Courtesy of the M: etropolitan Museum.) 4) The same 
subject by Murillo, at the Prado in Madrid. 5) The Birth of the Virgin Mary, by Domenico Ghirlandajo, in S. Maria Novella 
in Florence. 6) The Presentation of the Virgin, by the Master of the Lyversberg Passion, a Flemish-influenced German, in 
the Munich Gallery. 7) ‘Marriage of the Virgin,” by a 15th century Burgundian Master. (Courtesy of the Ehrich Galleries.) 


137 


picted as much older, as in the Domenico Ghirlan- 
dajo series already mentioned. There should always 
be 15 steps up to the temple, in reference to a pas- 
sage in Josephus’ Life of the Jews:—‘‘Between the 
wall which separated the men from the women, and 
the great porch of the temple, were fifteen steps.” 
But here again, in spite of Mrs. Jameson’s statement 
to the effect that there are always 15 steps, the pic- 
tures in which the tradition has been adhered to are 
in a very small minority. The most famous repre- 
sentation of this subject is by Titian, in the Venice 


A “PRESENTATION IN THE TEMPLE” BY AN UNIDENTIFIED MASTER 
OF THE GIOTTESCHI, IN WHICH THERE ARE NOT FIFTEEN STEPS TO 
THE TEMPLE. THIS FRESCO IS IN S. MARIA NOVELLA IN FLORENCE 


Academy, reproduced here. The Child is very small, 
but mounts the fifteen steps with assurance, and is 
surrounded by a glory of light. (See Plate XL.) 


6) THe VirGIN IN THE TEMPLE. Where she lived 
for some time after the Presentation. When she 
was fourteen years old, the High Priest told her of 
her great destiny, and she agreed to marry. Pic- 
tures by Luini in the Brera, and Agnolo Gadd1, in 
the Carmine, in Florence. 


7) THe ANNUNCIATION (as an event). 
(See Chapters II and V and Plate X.) 


8) Tue VisiraTIon (to Elisabeth, future Mother of 
John the Baptist). Famous pictures by Domenico 
Ghrrlandajo in the Louvre, and Mariotto Albertinelli 
in the Uffizi of Florence, etc., etc. 


9) THe MarriaGE OF THE VirGIN. (Lo Sposalizio.) 
Celebrated pictures by Perugino at Caen (the “Caen 
Sposalizio’”’), by Raphael, in the Brera, and numer- 


ous others. (See Plates XL and XLI.) 





138 


10) THe JouRNEY TO BETHLEHEM. 


11) THe Nativity or Jesus Curist, either as a 
Mystery or an Event. Innumerable pictures of this 
fundamental subject. Among the best-known are 
the Correggio “Holy Night,” in Dresden; the “‘Porti- 
nari Nativity,” by Hugo van der Goes; Fra Lippo 
Lippr’s in the Louvre, etc. The first named shows 
the whole scene lit by the radiance emanating from 
the Divine Infant. Care must be taken to avoid 
confusion of pictures of the Nativity, as a mystery, 
with those of the madre pia. In Nativities of either 
category, the Ox and the Ass (see page 29) are 
introduced, while, particularly m those pictures 
which treat of the subject as a mystery, there are 
angels singing Gloria in Excelsis. Examples of both 
types are illustrated here. In Botticelli’s famous 
Nativity—as a mystery—in the National Gallery, 
there are numerous angels, both on earth and in the 
heavens, giving way to demonstrations of ecstatic 
joy. Piero della Francesca’s beautiful work, also in 
the National Gallery, is m a calmer note. (See 


Plates XLI and XLII and pages 136 and 140.) 





12) THe ADORATION OF THE SHEPHERDS. Generally 
occurs with the Nativity, in pictures, e. g. Martin 
Schéngauer’s lovely picture in Berlin, or the Sienese 
Pietro di Domenico’s devout work, m Siena, illus- 


trated on Plate XLII. 


13) THe ADORATION OF THE MacI, oR THREE KINGs, 
or WisE Men. Thethree Wise Men. This subject 
is one of the most important in the whole range of 
iconography. It has been painted mnumerable 
times. Legend and tradition have even gone so far 
as to place names upon these three Wise Men: Cas- 
par, an old man with a long white beard; Melchior, 
of middle age, and Balthasar, who Is generally inter- 
preted as a black man, King of Ethiopia. It is thus 
that he ts represented in the fine triptych by Herri 
met de Bles, in the Ehrich collection, (See Frontis- 
piece); by Geertgen tot Sint-Jans, in the Rudolphi- 
num at Prague; Hieronymus Bosch, in the Prado; the 
Master of ‘“The Death of Mary’’, in Berlin, among 
the Flemings; by Vincenzo Foppa (d. 1492); Dom- 
enico Ghirlandajo, and Mantegna, among the Italians 
both in the Uffizi. The Adoration of the Three 
Kings of Cologne, as they are sometimes called, can 
always be distinguished from that of the Shepherds 
by the rich costume of the former, and the notice- 
ably respectful attitude of the latter, frequently 
shown lifting their head-dress to the Child Christ. 
(See, for comparison, Plates XLI and XLI1.) 


14) THE MASSACRE OF THE INNOcCENTs. This is an 
uncommon subject, but there is a well-known pic- 
ture by Matteo di Giovanni (c. 1435-1495) in S. 
Agostino in Siena, (See Figure 8 of Plate XLI) and 
a curious work, of which the scene is laid in a Flemish 
landscape, by Pieter Brueghel the Elder, in the Im- 
perial Gallery of Vienna. 





PLATE XLI THE SAINTS IN ART 





1) Fra Lippo Lippi’s (1406-1469) well-known Nativity, in the Louvre. Note the ox and the ass (see page 29) in this and 
Nos. 3,5and7. 2) Lo Sposalizio, or Marriage of the Virgin, by Raphael, in the Brera. Note the flowering of Joseph’s wand 
and the disappointed suitor breaking his. 3) Nativity, by Botticelli, in the National Gallery (see page 138). 4) The same 
subject by Piero della Francesca (c. 1416-1492), also in the National Gallery (see page 138). 5) The world-renowned Madonna 
del Sacco, representing the Repose in Egypt, painted by Andrea del Sarto for the Annunziata, belonging to the Servites, in Flor- 
ence. 6) The Flight into Egypt, by Joachim Patinir (d. 1524), the father of Herri met de Bles, according to Sir Martin Co way. 
7) The Adoration of the Magi, by Herri met de Bles (1480-1550), in the Johnson Collection in Philadelphia. 8) The Massacre 
of the Innocents, by Matteo di Giovanni (c. 1435-1495) in the Academy of his native city, Siena. 





139 


15, 16 and 17) THe PuriFICATION OF THE VIRGIN, 
PRESENTATION OF THE CHILD CHRIST IN THE TEMPLE, 
and the Circumcision, are subjects which occur fre- 
quently in paintings of all schools. They are often 


placed as wings of triptychs having as the principal 
subject, either the Nativity, or the Adoration of the 
Magi, e.g. the picture by Herri met de Bles 
illustrated in our frontispiece. 


A REMARKABLE ‘“‘ NATIVITY”? EXECUTED IN WATER-COLORS, BY A GIRL OF ELEVEN YEARS OF 
YVETTE HOWLETT, WHOSE MOTHER IS THE DISTINGUISHED NEW ZEALAND ACTRESS, MISS 
DESPITE THE EXTREME YOUTH OF THE ARTIST, SHE HAS, WE THINK, ACHIEVED A 
RESULT WHICH FOR DEVOUTNESS AND SINCERITY IS RARELY TO BE SEEN AMONG THOSE MODERN 
PAINTERS WHO ATTEMPT THIS MOST DIFFICULT SUBJECT TO INTERPRET IN THE RIGHT NOTE. 


AGE, 
EVE BALFOUR. 


18) THe Fricut nro Ecypr. Always shown in the 
same way, with the Madonna and Child seated on 
an Ass, led by St. Joseph. 


19) THe Rest 1n Eoypr. Andrea del Sarto’s 
famous Madonna del Sacco, in the Annunziata in 
Florence, is the best-known work of the early Italian 
schools, illustrating this episode. It was painted 
for the Order of the Serviti in their famous Chapel 
of the Annunziata in Florence. 


20) THe RETURN FROM Ecypt. From then until 
the close of the Passion and its sequels, the life of 
the Virgin is subordinated in Art to that of her Son, 
which is depicted in all its aspects by so many 
painters that it is futile to mention even the best- 
known of them here. The pictures, of course, ex- 
plain themselves, So we will simply list them as 
under. 


a) Curist AMONG THE Docrors (or the Dispute 
in the Temple). See Mazzolino’s picture repro- 
duced on Plate XLII. Bernardino Luini was the 
author of another famous painting of this subject. 


b) Baprism or Curist by St. John the Baptist 
(see Plate X XI and page 65). 


c) THe TEMPTATION IN THE WILDERNESS. 


d) Tue MarriaGe at Cana. Pictures by Paul 





140 


Veronese and other Venetians, notably the celebrated 
picture by the former in the Louvre, reproduced 
here. 


e) THe CaLiinc or PETER AND ANDREW, then of 
the Sons of Zebedee (SS. James Major and John 
the Evangelist). Fine picture by Marco Basaiti 
in the Venice Academy. (See Plate XLIII). 


f) Incidents of Our 
Lorp’s TEACHING, and 
y illustrations of Hts 
PARABLES; e.g. the 
Woman taken in Adult- 
ery, and the Prodigal 
Son. 


g) His Mrracies; e.g. 
The Raising of Lazarus; 
theMuiracles ofthe Loaves 
and Miraculous Draught 
of Fishes cartoon by 
Raphael in the Victoria 
and Albert Museum in 
London). 


h) THe SERMON ON THE 
Mount. 


1) THe TRANSFIGURA- 
TION. Raphael’s cele- 
brated picture in the 
Vatican. 


j) Jesus aT THE House 
oF MarTHA OF BETHANY 
and her sister, Mary Magdalene. (See pages 70 
et seq.) 


k) Tue Feast art tHE House oF SIMON THE 
Levire, distinguishable from (j) by the larger 
number of persons present. (See Plate XLIII.) 


1) The Scenes in the GARDEN OF GETHSEMANE OR 
THE Mount oF OLIVEs. 


m) THe Lorp’s, or Last, Supper. (See page 60 
et seq.) 


n) Tue InstiruTION OF THE Eucnarist. (Idem.) 


o) Tue BerrayAL AND Capture and its atten- 
dant incidents, e.g. the cutting off of the ear of 
Malchus. oi 


p) THE ScourGING AND CRowNING wiTtH THORNS. 
Famous picture by Titian in the Louvre. 


q) The Via Dolorosa, the Roap To Catvary, with 
its incident of Saint Veronica. (See Plate XLIV.) 


s) THe NaILinc To THE Cross. 


t) THe CruciFixion, treated as an event, with all 
the accessories, such as the Roman soldiers, the two 
thieves, the Centurion, afterwards St. Longmus, etc. 


u) THe Descenr From THE Cross. Celebrated 
painting by Rubens in Antwerp Cathedral, and 
innumerable others. 


PLATE XLII THE SAINTS IN ART 


lS als 


THE NATIVITY, AND OTHER | 
SCENES OF THE SAVIOUR’S | 
MOU THEW DAYS: 


1) A beautifully devout Nativity, by Geertgen tot Sint-Jans, in the Kaufmann Collection, in Berlin. 2) The Baptism of 
Christ, by Joachim Patinir, in the Vienna Gallery. Note the Almighty and the Dove directly over the Saviour’s head (see page 
67). 3) The young Christ disputing with the Doctors, by Bernardino Luini (c. 1475-1532), in the National Gallery, where is 
also No. 5 of the same subject by Mazzolino (c. 1478-1528). 4) Adoration of the Shepherds, by Pietro di Domenico (1457- 
1506) in the Siena Academy. 6) The Tiburtine Sibyl, prophesying to the Emperor Augustus the coming of Christ, whereupon 
the heavens opened and disclosed a radiant Virgin with the Child in her arms. By Lucas of Leyden (1495-1533), in the Venice 


Academy. 





141 


v) Tue Deposition. Similar to the Pietd, save 
that the personages present are more numerous, 
and they are IN THE act of laying the Body of 
Christ down. In the Prieta, there is NO ACTION 
whatsoever. (See Plate IX.) 


w) THe ENTOMBMENT. 


(See Plate XLV.) 


y) Tue Visit or THE Marys (other than the Virgin 
Mary, who did not go) TO THE SEPULCHRE. (See 
Plate XVII.) 


z) THE Descent Into HELL. 


x) THe RESURRECTION. 


(See Plate XLVI.) 


aa) THE APPARITION OF Curist TO His MoruHer. 
(Not scriptural.) 


bb) THE ApparITION TO Mary MAGDALENE IN THE 
GarDEN. (The Noli me tangere.) (See Plate XXII.) 


cc) THe AscENSION. 
dd) Tue Descent or THE Hoty Guost. (Acts I. 4.) 


ee) THE Supper aT Emmaus. APPARITION TO THE 
Two ApostLes. (Mark xvi: 12). Famous pictures 
by Titian and by Rembrandt, both in the Louvre. 
(See Plate XLVI.) 


ff) Tae UNBELIEF oF THomas, at the supper of 
the Eleven. (Mark xvr.), who was not present at 
the Supper at Emmaus. (John xx: 25-29.) 
ge) JEsus aT THE SEa OF Tiperias. (John xxi: I et 
seq.) 
hh) THe Cuarce To St. Peter: ‘Feed My Sheep.”’) 
(St. John xxx: 17.) 

Then we come back to the Virgin with: 


(See Plate XLVI.) 
(See Plate XI.) 
(See Plate XII.) 


24) Her Miracutous APPEARANCES IN AID OF 
Humans. (See Page 35.) 


* * 


21) Her Deatu. 
22) Her AssuMPTION. 
23) THE CoronaTION. 


In regard to Old Testament subjects, it must 
be remembered that the great majority of early 
painters were Roman Catholics, who executed 
their works at the instigation of the Clergy 
or Monastic Orders, or for laymen who wished 
to present them to Churches or monastic institu- 
tions. Therefore most of the subjects chosen were 
taken from the Gospels, or the accepted histories 
and legends of the Lives of the Virgin and the Saints. 
Where Old Testament scenes were depicted they 
generally had some symbolic or prophetic signifi- 
cance. But m 17th Century Protestant Holland, 
Old Testament “‘illustrations’” were more pop 
ular than Catholic devotional subjects. Rembrandt 
was one of the great painters of Old Testament 
episodes, and also made numerous etchings after 
the Bible. 

Among the most commonly illustrated are the 
CREATION; ADAM AND Eve; the ExpuLsioN FROM 
THE GARDEN OF EDEN (pictures by Masolino and 


142 


Masaccio); THE DEATH oF ABEL; GoD APPEARS TO 
ABRAHAM; Gop APPEARS TO Moses IN THE BuRN- 
ING Busu; THE DRUNKENNEsS OF Noaun, and oF 
Lor; Hacar AND ISHMAEL; ABRAHAM AND ISAAC; 
Isaac AND JacosB; JAcoB’s DrEAM; JOSEPH AND 
THE WIFE OF PoripHAR (a very frequently painted 
subject); THe Finpinc oF Moses; JAEL KILLS 
SISERA; JUDITH AND HoLOpHERNES; SAMSON AND 
DeE.iLAH; Davin AND GoLiATH; Davip ANnp BaATH- 
SHEBA; The JUDGMENT OF SOLOMON; ELIJAH FED 
BY THE Ravens; EsTHER AND HAMAN; THE 
TriumepH oF MorpbeEcal; BELSHAzZAR’S FEAST; 
DANIEL IN THE Lions’ DEN, and the VISION OF 
DANIEL, SUZANNAH AND THE ELDERS, etc., etc. 


* * 


The Srpyits were Jegendary prophetesses who 
were said to have foretold to the Gentiles, as the 
Prophets had foretold them to the Jews, various 
aspects of the Advent and Sojourn upon earth of the 
Messiah. They were twelve in number; the Persian 
Sibyl, the Libyan, the Delphic, the Erithrean, the 
Cumezan, the Samian, the Cimmerian, the Tibur- 
tine, the Hellespontine, the Phrygian, the European, 
and the Agrippine. (See pictures touching upon 
the Sibyllic legends on Plates XLII and XLVII.) 
The Michelangelo and Raphael Sibyls are known 
to all who have visited the Vatican. 


et et 


The third category of pictures includes the Last 
JUDGMENT, of which some of the most famous are 
those by Michelangelo, in the Sistine Chapel (see 
pages 61 and 158); Luca Signorelli, in Orvieto Cathe- 
dral; Tmtoretto, m the S. Maria dell’Orto Church 
in Venice of which the original drawing, in the 
collection of the author, is reproduced on Plate 
XLVII; Fra Bartolommeo, in the Uffizi in Flor- 
ence; Giotto, in the Arena at Padua; Orcagna in 
S. Maria Novella in Florence, among the Italians; 
and Roger van der Weyden; Memlinc; Jan Pre- 
vost, Lucas van Leyden (See Plate XLVI.), among 
the Northern artists. 


* * * 


PARADISE was again a popular subject, in which 
the Saints and Prophets are grouped around the 
Trinity. Some outstanding examples are those by 
Tintoretto, in the Louvre m Paris; Giovanni di 
Paolo, mm Siena; and Hieronymus Bosch, in the 


Prado. (See Plate XLVI.) 


* *K * 


HELL was a favorite subject of the early Flemish 
painters, particularly, for in it they were able to 
give free rein to all the fantasm of their strange 
natures. Among the best-known are those by Herri- 
met de Bles, in Munich; Hieronymus Bosch, in the 
Escurial, and, of course, among modern artists, 
the wonderful drawings by Gustave Doré, illustrat- 
ing Dante’s “Inferno.” 


PLATE XLIII THE SAINTS IN ART 


A GROUP OF INTERESTING IN- 
BERERE VATIONS s= OF  (OUT- 
Bea DING -EVENTS, IN THE 
BIStORICAL CAREER OF THE 
GREAT TEACHER. 








1) One of the most celebrated pictures in the world: Paul Veronese’s ‘‘ Marriage at Cana,’ in the Louvre. This immense 
canvas—for it is nearly 36 feet long, by 22 feet high— was taken from Venice by Napoleon, during his Italian campaigns, 
and, when his captures were returned to their rightful owners after 1815, this picture, on account of its unwieldiness, was left to 
the French in exchange for the work of a third-rate painter, Baron Gerard, who enjoyed a vogue at that time. 2) Preliminary 
wash drawing by Paul Veronese for his famous ‘‘Feast at the House of Simon the Levite,” in the Brera of Milan. As usual, 
Veronese has mingled contemporary personalities with the scriptural ones. Marked with an “X”’ is the great Emperor Charles V, 
and with an “O” King Francis I of France (In the Collection of the Author). 3) The Raising of Lazarus, by Albert van 
Ouwater or Oudewater (15th Century), in the Berlin Museum. 4) The Calling of the Sons of Zebedee (SS. James Minor and 
John the Evangelist), by Marco Basaiti (c.1470-1527) in the Venice Academy. 





143 


HOW THE MARTYR-SAINTS SUFFERED AND DIED 


AS DEPICTED BY SOE GREAT MASTER Ss © agian 





This Table is not intended as a complete list of martyr- 
saints, but only of those whose martyrdoms are painted as 
narrative pictures of the actual events. Others whose martyr- 
doms are only depicted in series in stained glass have been 


omitted. 


‘ 


The mention 


‘ineffectual”’ or 


‘ 


‘ineff.” means that the 


form of martyrdom to which it refers was rendered so by 
divine intervention. In the majority of such cases, the saint 
thus saved was finally slain with the sword. There are excep- 


tions. 


The letters following the name of a Saint in this Table 
denote the section in which he or she is placed in the “‘Com- 
plete Tables of Holy Personages and Saints,” pages 145-152. 





ANVIL, LIMBS BROKEN ON. St. Adrian. P. 


ARROWS, SHOT WITH. 


AXE, SLAIN WITH. 
BEHEADED. 


BOILED ALIVE IN 
CAULDRON 


Bounp To CoLumN. 
Breasts MutTItatep. 


St. Ursula (with a number of 
maidens). G. a. 

St. Angelus (in his Carmelite 
Robes and hung from a tree). 
IRS @& 

St. Sebastian (nude). L. 

St. Christina. G. a. 

St. Pantaleon (nude, but hands 
nailed to tree above his head). J. 

St. Proculus, in a house. 

St. Alexander (in Bergamese pic- 
tures only). P. 


St. Adrian. P. 
St. Alban. A. 
St. barbara Gata: 


St. Catherine of Alexandria. G. a. 

SS. Celsus and Nazareus (always 
together). J. 

S. Cosmo and Damian (always 
together in the scarlet robes of 
a physician.) J. 

S. Crispin and Crispianus (rarely 
seen except in Flemish works.) J. 

SS. Justina and Cyprian. G. a. 
and C. 

St. Denis (carrying head). D. 

St. Donato. D. 

St. Dorothea, with angels bearing 
roses. G. a. 

SS. Faustino and Jovita, together 
as Deacons. F. 

St. George of Cappadocia. P. 

St. Margaret of Antioch with Dead 

ragon. G.a. 

St. Matthew. (Picture by Cara- 
vaggio in San Luigi de’Francesi, 
Rome.) B. 

St. Maurelius, Bishop. D. 

St. Maurice (surrounded by his 
comrades of the Theban Legion, 
either as spectators, or themselves 
crucified or bebeaded.) P. 

St. Paul (easily recognizable). B. 

St. -PriscasnG..di 


SS. Crispin and Crispianus, to- 
gether (ineff.). J. 

SS. Justina of Antioch and St. 
Cyprian (ineff.). G. a. and C. 

St. Felicitas and her seven Sons. 


The Mother of the Maccabean 


young). J. 
St. Bibiana. G. d. 
St. Agatha. G. d. 


T 44 


BuL1, BRAZEN, ROASTED 
ALIVE IN. 
Burnt ALIVE. 


CAULDRON, STANDING IN. 


CoLumn, Bounp To. 
CRUCIFIED. 


DaGGER (IN NECK). 
DraGGEp BY Hair. 
DRAGGED OVER ROCKS 
AND STONES. 
DROWNED. 


FLAYED ALIVE. 

Horses, Torn ASUNDER 
BY. 

LANCES OR JAVELINS, 
MEN PIERCING WITH. 

Lions, THROWN TO. 


MILLSTONE TIED TO NECK. 


DROWNED WITH. 
“* (CRUSHED BENEATH 
A) 
“* (FLOATING, FAS- 
TENED TO A) 
Naits, PrERCED WITH. 


OxXEN ATTEMPTING TO 
MOVE HER. 

Roastep ALIVE ON BED 
OR GRIDIRON. 


SLAIN WITH SworD. 
(Nor BEHEADED) 


SPIKES (WRITING STYLES) 
PIERCED WITH. 
STONED TO DEATH. 


STRIPPED OF CLOTHING. 


TreetH ExtTrAcrTeD. 
WHEELS, SPIKED, 
STANDING BETWEEN. 


Wivp Beasts. 
WInpb.ass, ENTRAILS 
WOUND UPON A. 


St. Eustace and his family. P. 

ay Afra, patroness of Augsburg. 

St. Apollonia (see Teeth Ex- 
tracted). G. d. 

St. Christina (unharmed). 

SS. Cosmo and Damian (ineff.). 

St. Ephesus, in blue starred robe 
(ineff.). P. 

St. Lucia (ineff.). 

See Boiled Alive. 

St. Bibiana. G. d. 

sae (on an X-shaped cross). 


St. Peter (head downwards). B. 

St. Philip the Apostle (with crowd 
stoning him). B. 

St. Lucia, (Gaye 

St. Sabnaa. * Gad: 


St. Mark. B. 

St. Christina (millstone attached 
to her neck). G. a. 

St. Clement (anchor fastened to 
his neck). N. 

St. Julian of Rimini (in sack full of 
serpents). J. 

St. Bartholomew. B. 


St. Hippolytus. J. 


St. Thomas the Apostle. B. 

St. Euphemia (ineff.). G. a. 

SS. Faustino and Jovita (ineff.). F. 
St. Ignatius of Antioch, Bishop. D. 
St. Prisca, very young (ineff.). G. d. 
St. Thecla (ineff.). G. d. 


St. Christina (ineff.). G. a. 
St. Floriany oF: 


St. Victor of Marseilles, then be- 
headed. P. 


St. Vincent. F. 
St. Crispin (with Crispianus who 
is In a cauldron of oil). J. 


Gas 


St: Faith, Gig: 

St. Lawrence. D. 

St. Agnes. G. a, and c. 

St. Euphemia (in arena with 
lions). G. a. 

St. Justina of Padua (in bosom). 


St. Lucia. 


oul 
St. Lucia (dagger in neck). G. f. 
St. Peter Martyr. See illustrations 
Plate xxxvu and page 132. 


St. Cassian. a2: 
St. Alphege (always as an arch- 
ishop. C. 
St. Stephen (as a Deacon). F. 
St. Gaudenzio (very rare) as 
Bishop. D. 
St. Philip the Apostle (on a cross). 


iG 
St. Agnes (ineff.). (See Plate VII.) 
. a. and e. 
St. Thecla (in amphitheatre). G. d. 
St. Apollonia (ineff.). G. d. 


St. Catherine of Alexandria (ineff.). 
« @ 
See Lions. 


St. Erasmus (picture by Dirk Bouts 
in Louvre). D. 





COMPLETE TABLES OF THE HOLY PERSONAGES AND SAINTS 


Found in Early Christian, Byzantine, Italian, Flemish, German, French, and Spanish Art, including 
Pictures, I[Juminated Manuscripts, Mosaics, and Statues, arranged by categories, listed 
alphabetically, according to the costume in which they are usually portrayed. 

These categories are as follows: Abbots; Apostles; Archbishops; Armor (see Warrior Saints); 
Bishops; Cardinals; Deacons; Female Saints (Crowned, Hermits; Long Hair; Miscellaneous; Nuns; 
Richly-Dressed); Hermits; Miscellaneous; Monks; Nude or Semi-nude; Pilgrims; Popes; Royal 


Saints; Warrior Saints; Saints with Wings. 


Norte; The indication of the costume being the main 
purpose of these tables, we have bad to abbreviate greatly 
all other information. The reader will find, however, 
the typical emblems and dates, etc., of each saint in- 
cluded. For further information consult the Index and 
List of Illustrations. The Plate or Page number after 
each section-beading means that an example of the 
costume 1s there depicted. 

The place-name, following the date of death of 
an Archbishop or a Bishop, signifies the Diocese he ad- 
ministered. 

Aug—Augustinian Canons. 
Ben—Benedictine Monks. 
Br—Brigittines, Order of (Nuns). 
c.—circa (about). 
Cam—Camaldolesi, Order of the. 
Carm—Carmelites. 
Carth—Carthusians. 
Cis—Cistercians. 

CM—Crown of Martyrdom. 
d—Died. 

Da—Daughter of... 
DC—Doctor of the Latin Church. 
DGC—Doctor of the Greek Church. 
Dom—Dominican Monks. 
FC—Father of the Latin Church. 
FGC—Father of the Greek Church. 
FMO—Founder of a Monastic Order. 
Fr—Franciscan Friars. 

GB—Greek Bishop. 
GVM—Greek Virgin Martyr. 
Jer—Jeronymite. 

Jes—Jesuit. 

LVM—Latin Virgin Martyr. 
M—Martyr. 

Mo—Mother of... 
Oliv—Olivetan Order. 

OM—Order of Mercy. 

PC—Poor Clares (Nuns). 
Prem—-Premonstratensians. 
QW—Queen, Wife of... 
RD—Reigning Duchess. 
RP—Royal Princess. 
Serv—Servites, Order of. 
Trin—Trinitarians. 
Val—Vallombrosan Order. 
VM—Virgin Martyr. 

VP—Virgin Patroness. 

Vis. M—Visitation of Mary, Order of the. 
(1)—First Bishop of .. . 


A. ABBOTS 
(See Pages 122 and 125) 

SS. ALBAN. d. 305. Ben. Sword and Fountain. 

BENEDICT, or BENNET Biscop. d. 703. Ben. Mitre and 
Planeta and Pastoral staff; 2 monasteries in background. 

BERNARD OF CLAIRVAUX. d. 1153. Ben. Fettered Demon or — 
Three Mitres on a book. 

BERNARD DEGLI UBERTI. Val. (See Section E.) 

Bruno. FMO. d. 1200. Carth. Habit of his order (g. v.). 


B. APOSTLES 
(See Pages 59-66) 

SS. ANprew. M. d. 70. X-shaped Cross (see Plate XX). 

BarTHOLOMEW. M. Large Knife. 

James Masor, or the Great. d. 44. Pilgrim’s Staff. 

James Minor, or the Less. M. Fuller’s Club. 

JOHN THE EvaNGELtsT. d. 99. Chalice and Serpent. 

MatrHew. M. d.ogo. Bag or Sack-Purse. 

Martruias. M. Last Apostle called. Took place of Judas. 
Lance in Italian, Axe m German, pictures. Holding 
sword by the point in a picture by Cosimo Rosselli, in the 
Florence Academy. 

Peter. M. d.65. Keys or a Fish. 

Puitie. M. Cross on Staff. 

Smmon Zetotes. M. Saw. 

TuappeEus or JupE. M. Halberd or Lance. 

Tuomas. M. Builder’ssquare. Also a spear sometimes, e. g. 
in pictures of his martyrdom. 





BarnaBas. M. Gospel in Hand, with St. Paul or St. Mark. 
Luxe. M.(?) Easel and Brush. 

Mark. M. d. 68. Pen and Book. 

Paut. M. d. 65. Sword and Gospel. 


Note: The four Evangelists, as such, carry different sym- 
bols. Here they are depicted simply as members of the group 
of apostles. See Chapter VII passim and Index. 


C. ARCHBISHOPS 
(See Plate XXV, 6) 

SS. AtpHece. M. d. 1012. Canterbury. Chasuble full of 
stones. 

ANTONINO. d. 1461. Florence. Dom. Pallium over Habit. 

AuGUSTINE. d. 604. Canterbury. Ben. Pallium. 

Cyprian. M. d. 258. Carthage. Palm and Book. 

Dunstan. d. 988. Canterbury. Ben. Tongs or a Harp, or 
holding the devil by the nose. 

ILtpEFonso. d. 677. Toledo. Ben. Investiture by the Vir- 
gin Mary. 

Norpert. FMO. d. 1134. Magdeburg. Prem. Chalice 
with spider, or Demon at his feet. 

Patrick. d. 464. Primate of Ireland. Aug. Neophyte looking 
up at him in adoration. Serpent beneath his feet. (See 
Section L.) 

Pautinus. d. 644. York. Ben. On horseback in pictures 
with St. Augustine. 

Tuomas A Becker. d. 1170. Canterbury. Ben. With 
wounded head, or with knife in head. (Do not confuse 
with St. Peter Martyr.) : 7% 

Tuomas oF VILLANUEVA. d. 1555. Valencia. Aug. Giving 
his clothes to a beggar. Only in Iate Spanish Art. 


D. BISHOPS 
(See Pages 17, 82, and 94.) 

SS. ABBoNpDIO. Como. 

Apert. M. FMO. d.c. 1210. Vercelli. Carm. Palm. 

AmprosE. F.C. d. 397. Milan. Beehive and Knotted 
Scourge. 

ANDREA Corsini. d. 1373. Fiesole. Carm. 

Antanus. d. 86. Alexandria. 

Apoturnaris. M. d.79. Ravenna (1). Black Cross on White 
robe. 

Atuanasius. D.G.C. d. 373. Alexandria. Author of the 
Athanasian Creed. 

AucustTInE. D.C. d. 430. Hippo. Book, and small child 
near a hole in the shore. Flaming Heart. 





PLATE LXIV THE SAINTS IN ART 


(OEE sates 



















FINAL |. 33s ees = 

SCENES 

OF OUR 

| LORD’S 
LIFE 

AND A 

MIRACLE 


1) An engraving by Marcantonio Raimondi after Raphael’s Cartoon, in the Victoria and Albert Museum, London, for a 
“Miraculous Draught of Fishes,” one of a series of seven tapestry projects which has been called the ‘‘ Parthenon of Modern 
Art.” We shall discuss this picture more fully in our ‘‘ Early Italian Schools of Painting, and How to Distinguish Them,” 
in course of preparation. 2) Christ’s Agony in the Garden, by Correggio, in the National Gallery. 3) Another version of 
the same subject by Marco Basaiti, in the Venice Academy, with SS. Francis and Dominick. 4) Correggio’s beautiful Ecce 
Homo, in the National Gallery. Note the figure of Pilate at the right. 5) The Via Dolorosa, the Procession to Calvary, with 
St. Veronica, bearing the kerchief upon which she wiped the sweat off the brow of Our Lord, and found imprinted upon it His 
Image. By Ridolfo Ghirlandajo (1483-1561) in the National Gallery. 6) The Transfiguration, by Giovanni Bellini, in the 
Venice Academy. 7) Christ bound to the Column, by Eustache Le Sueur (1615-1655), in the Louvre. 8) A semi-devotional, 


semi-narrative, Crucifixion by Gerard David, in the Berlin Museum. The four Marys, and the Centurion and other soldiers 
are present, but there is only one Cross. 


146 


Basit THE Great. D.G.C. d. 380. Cesarea. No mitre. 
Dove on shoulder. Do not confuse with Gregory the Pope. 
Benno. d. 1100. Meissen. Ben. Fish with Key in its mouth. 

Braise. M. d. 316. Sebaste. Wool comb. 

Bonirace. M. d. 755. All Germany. Ben. As Bishop of 
Mainz. Book pierced by sword, or baptizing a convert, 
with his foot on fallen oak. 

Brice. d. 444. Tours. Live coals in hand or Child in arms. 

Cassian. M. Imola. Iron spikes (styles). 

Cuap. d. 672. Lichfield. Ben. (Stained glass.) 

CHERON. M. d. 3rd cen. Chartres. Head in hand. 

Costanzo. M. d.c. 255. Perugia. 

Cunipert. d. 660. Cologne. Model of a Church. Dove. 

CutupBert. d. 687. Landisforme or Durham. Ben. Otter or 
Head of St. Oswald. Generally as Abbot. 

Cyprian. M. d. 304, Antioch. As a Greek Bishop, with- 
out head-dress. Rarely, if ever, without St. Justina of 
Antioch (‘Section G.f.), in devotional pictures. 

Cyrit. G.B. d. 444. Alexandria. Only G. B. with head 
covered. Wears hood falling on shoulders with front 
bearing cross. 

Denis. M. d. 3rd cent. Paris. Severed Head under arm. 

Donato. M. Arezzo. Glass of Wine and Sword. 

Exoy or Exicius oF Noyon. d. 659. Horse with three legs. 

Enurcuus. d.c. 340. Orleans. Finding pot of gold. 

Erasmus. M. d. 296. Formia. Windlass. 

Ercorano. M. d.c. 547. Perugia. 

FRANCIS DE SALES. d. 1622. Geneva. Vis. M. Great Beauty. 


FrepDIANus. d.c. 580. Lucca. Harrow. 
Gaupenzio. M. d. 359. Rimini. Stones. 
GaupEnzio. d.?. Novara. 

GEMINIANUus. d.c. 450. Modena. 


GrecoryY NaZIANZEN. D.G.C. d. 390. Nazianus. 

Hirary or Irario. d. 363. Poitiers. 

Husert. d. 727. Liege. Stag with crucifix between its horns. 

Huen. d. 1132. Grenoble. Carthusian. 

Hucu. d. 1189. Lincoln. Carthusian. Swan. 

Ienatius. M. d.107. Antioch. Lions. 

Istpore. d. 606. Seville. Called “The Egregius Doctor of 
Spain.’’ Seen with Bishop St. Leander (g. v.). 

Januarius. M. d. 303. Benevento. Vesusius in background 
and Palm in hand. 

JoHN Curysostom. D.G.C. d. 407. Constantinople. Name 
on nimbus, 

Lampert. M. d.709. Maestricht. Palm and Javelin. 

Lazarus. Marseilles. With Mary and Martha or sometimes 
with a Bier in the background. 

LEANDER. d. 596. Seville. Styled the “‘Apostle of the Goths.” 
Represented with St. Isidore (q. v.), in attendance upon 
Ferdinand of Castile and Prince Hermengildus. (Sect. P.) 

Louis or Toutouse. d. 1297. Toulouse. Fr. Crown at feet. 
Cope embroidered with fleurs-de-lys. (See Royal Saints.) 

MartTIAL. d. 3rd cent. Limoges (1). With St. Valery bear- 
ing her Head. 

MarTIN oF Tours. d. 397. Tours. Dividing cloak with a 
beggar (see Warrior Saints). 

Mauvretius. M. d. 2nd cent.(?). Ferrara (1). 

MercuRIALe. d. 2nd cent. Forli (1). Dragon. 

NicaiseE. M. d. 400. Rheims. Upper part of Head, with 
mitre, in his hands. : 

Nicoctas or Myra or Bart. d. 326. Myra. Rich robes, 
Three Gold Balls, or three children. 

Petronius. d. 430. Bologna. Model of City in hand (with 
tall Campanile). (See Plate VI.) 

Procutus. M. d. 445. Bologna. In Bolognese pictures. 

Quirinus. M. d. 309. Sissack in Croatia. Millstone. 

Recuius. M. Africa. Severed Head, seated. Only repre- 
sentation at Lucca (statue). 

Romain. d. 639. Rouen. Dragon called the Gargoyle 
(whence the term im architecture) or Headless. 

Romuto. M. Time of Nero. Fiesole (1). Palm and Dagger. 

Syrus. M.? Pavia (1). 

SwipBert. d. 713. Ben. Holding a star. 
abbot, but always shown as bishop. 

SwiTHEN. d. 862. Winchester. Ben. Waterspout. 

Urricu. d. 973. Augsburg. Fish. 

Zeno. M.(?) d. 380. Verona. Fishing rod and Fish. 

ZeNosBIO. d. 417. Florence. Tree putting forth leaves. 


E. 


Was really an 


CARDINALS 
(See Plate XXIV) 


SS. BERNARDO DEGLI UBERTI, OR BERNARDO CARDINALE. Val. 

BonaveENTuRA. d. 1274. Fr. Red hat worn or on branch of tree. 

CuarRLES BorROMMEO. d. 1584. Ben. Rope around neck 
and bare feet, or one hand holding a book, and other 
raised in benediction. 

JEROME. d. 420. Cardinal’s hat and robes an anachronism 
(see Chapter VIII). Frequently as a Hermit. Founder 
of Monachism in West. 


147 


Raymonp Nonnatus (San Ramon). d. 1240. OM. Lips 


padlocked. 
DEACONS 


F. 
(See Plates XXX, 5 and XXXIII, 5 and 6) 

SS. Faustino. M. d. 121. With St. Afra (section G-f.). 
Rarely seen except in Brescian pictures. 

Jovira. M. d.121. See St. Arra or Brescia, G.f. 

Lawrence. M. d. 258. Gridiron and Book. 

LEONARD. d. 559. Fetters, or slaves around him. 

Puitip. Baptising Chamberlain of Queen Candace. 

Pracipus. M. d. 584. With his Dalmatic over a Benedictine 
black tunic. (See Section K. a.) 

STEPHEN. M. 1st Cent. Proto-Martyr. Stones on head, or 
on shoulder, or around him, his head wounded. 

Vincent. M. d. 304. Raven. 


G. FEMALE SAINTS 
a) CROWNED (See Pages 22 and 100) 


SS. ADELAIDE. d. 300. Duchess of Bergamo. Long veil under 
Crown. Generally with St. Lupo (see Royal Saints) and 
St. Grata (below). 

ADELAIDE. d. 999. QW. of Otho I. of Germany. 

Acnes. LVM. d. 304. Rarely crowned except in German and 
Flemish pictures (see sub-section ‘‘c”’ and Plate VI). 
BarBaRA. VP and M. d. 303. CM. Tower with three win- 

dows or a chalice and Gospel, or a Sword. 

CATHERINE OF ALEXANDRIA. VP and M. d. 307. RP. Wheel 
with spikes, generally broken. Also with Sword and 
Gospel and Palm; sometimes (Plate V) with Head of 
Emperor Maximian and Demon at her feet. 

Cecitira. LVM. d. 280. Patroness of Sacred Music. Crown 
of Roses and Musical Instruments, also Palm and some- 
times Sword. 

Curistina. M. d. 295. CM. Also Arrow, or Millstone. 

Criotitpa. d. 534. QW. of King Clovis of France. 3 Fleurs- 
de-lys, generally on a Shield. 

CunEGuNDA. d. 1040. QW. of Henry of Bavaria. Walking 
on Ploughshares. 

DorotHEA OF Cappapocia. GVM. d. 303. Crown of Roses. 
Basket with Three Apples and Three Roses. 

EvIsaABETH OF Huncary. d. 1231. QW. of King Ludwig. 
Two Crowns (see p. 22). Lap full of Bread and Roses. 
Often with beggars or children. Always represented as 
young and beautiful. Died at 24 years of age. Often 
wears a Veil. . 

ELISABETH OF PorTUGAL. d. 1336. QW. of Dionysius. Al- 
ways represented as old and venerable. 

ETHELREDA. d. 679. Da. of King of East Anglia. Was 
founder of Ely Cathedral. Asleep under a tree with two 
maidens. 

Eupuemia. GVM. d. 307. Lion and Palm. CM. 

GraTa oF BerGcAmo. M. d. 300. Head of St. Alexander in a 
napkin. 

Hevena. d. 327. Mo. of Constantine the Great. Asleep, 
with a Large Cross as a dream (Paul Veronese) or holding 
one in her arms. She discovered the True Cross of 
Christ on Calvary, as St. Louis discovered the True 
Crown of Thorns (q. v.). 

Justina oF Papua. VM. d. 303. Da. of King Vitalicino. 
Unicorn is sometimes given her by mistake, being the 
special attribute of Justina of Antioch who is not crowned. 
Sword in bosom is this saint’s true attribute, with Palm. 

MarGareEt OF ANTIOCH. VP. and M. d. 306. CM. Dragon, 
Spear and Cross. 

RADEGUNDE. d. 587. QW. of Clothaire V. Long Veil. Cap- 
tive with Broken Fetters. 

Reparata. VM. d. at 12 years of age. Only in Florentine 
pictures. Seen as a small girl by the side of the Madonna, 
in white robe and red mantle, or with Crown and Palm. 
CM. Was Patroness of Florence from 680 to 1298. 
White Banner with Red Cross. 

Rosa oF Lima. d. 1617. Only canonized saint in the Western 
Hemisphere. Crown of Thorns. Child Jesus on a full- 
blown Rose (Murillo). Only seen in late Spanish pictures. 

Rosatia OF PaLtermo. d. 1160. Hermit Saint. Crown of 
Roses. In cave with Crucifix. 

Ursuta. VP. and M. d. c. 380(?). Princess of Brittany. 
Arrow and large numbers of Maidens with her. (11,000 
Virgins). Rich robes and Arrow and Banner in votive 
pictures. 


b) Hermit Saints (FEMALE) 
(See Plates XXIII and XXXIV, 3) 

SS. GENEVIEVE OF Paris. d. 509. Patron Saint of Paris 
Saved the city from Attila and Childeric. Converted 
Clovis and Clotilda to Christianity. Generally portrayed 
as a Shepherdess with her Flock and a Spindle, in youth, 
and as a “‘réligieuse’”’ (nun) in later life. 


PEATEs Ey: THE SAINTS IN ART 

















































































































‘ethan sects seatlinecanitcccestt 


IO OLE De fe Ie Sa SOMME ANG: Wy 





1) ‘The Crucifixion of St. Philip,” ot of Our Lord, by Filippino Lippi, in S. Maria Novella, Florence. Note the similarity 
with the real “Crucifixion,’’ but that the Marys are not present, nor other historical witnesses of the Tragedy on Calvary. 
2) A curious “Crucifixion,” by the Fleming, Gerard van der Meire, in Saint-Sauveur at Bruges. It comprises three scenes: 
The Procession to Calvary; the Crucifixion; and the Deposition. 3) Again a semi-devotional Crucifixion, with the three 
Crosses, but only the Virgin Mary and St. John the Evangelist present, as in the Stabat Mater. By Antonello da Messina 
(c.1444-c.1493), in the Antwerp Museum. 4) Mantegna’s true narrative Crucifixion, in S. Zeno at Verona. Note the 
personages participating in the scene. 5) Purely devotional Crucifixion, or, as it is called, a ‘‘Holy Trinity,” by Masaccio, 
in S. Maria Novella, Florence (see page 17). 6) ‘‘The Descent from the Cross,’’ by Sodoma in the Siena Academy. 7) 
Orcagna’s (1308(?)-1368) famous ‘‘Resurrection,”’ in the National Gallery. Note the Banner of Victory, with the Cross of 
St. George. 


148 


Guputa. d. 712. Carries a Lantern with a Demon trying 
to extinguish it. 

Marina. Dressed as a Monk—not a Nun—but clearly 
shown to be a very beautiful woman. Child at her feet 
or in her arms. 

Mary oF Eeyprt. d. 433. Represented as very old and worn 
with long hair and with Three Loaves of Bread. When 
there are Pyx, Skull and Crucifix, the saint depicted is 
not this one, but Mary Magdalene. (See Plate XXXIV.) 


c) Lone Harr as RAImENT 
(See Plates XXIII and XXXII) 


SS. Acnes. LVM. d. 304. In pictures, not votive but his- 
torical, she is shown nude, but covered by her hair. (See 
Section G.a. and Plate VI.) 

Mary Macpatene. d. 68. Long golden hair. Spanish paint- 
ers give her dark hair. Often shown in cave, or as a her- 
mit penitent, with Skull and Crucifix and Pyx. 








d) MiscELLANEous SAINTS (FEMALE) 


SS. AcatHa. LVM. d. 251. Generally depicted in long 
flowing robes, with modest yet noble bearing, and holding 
a Platter upon which lies one or a pair of severed female 
Breasts. Sometimes she carries a large pair of Shears. 

Apro.titonia. VM. d. 250. Palm and Pincers holding a tooth. 
See Procaccino’s “Martyrdom of St. Apollonia” in Milan 
Cathedral. 

Ba.sina. d. 130. Found the Chains of St. Peter. Veiled with 
Chain or Fetters in hands or near her. 

Bipiana. M. d. 362. Bound to a column with dagger in her 
throat. 

ExisasetH, Mother of John the Baptist. In pictures of the 
Visitation, or in Holy Families, or in scenes from the life 
of her son. Head covered, elderly. She is unmistakable 
from the context. 

FaitH. VM. d. 290. Nude to the waist. Crowned. Holds 
an iron bed (on which she was roasted). 

Fericiras. M. d. 173. Always seen with her seven sons. 
Hooded, veiled as a widow, with martyr’s palm. Do not 
confuse with the Seven Maccabees and their mother. The 
latter are always depicted with their hands and feet cut 


off, whereas the sons of St. Felicitas are not. (See 
Plate IX.) 
Firomena. M. d. 303. Extremely popular today in all 


northern Italy. Lily. Palm. Javelin. Surrounded by 
sick and maimed. 

Fina oF GEMIGNANO. d. 1253. Picture by Bastiano Mainardi 
in the Cathedral of San Gemignano. Rarely found any- 
where else. (See however Plate X XVII.) 

GENEVIEVE OF BraABANT is often believed to be the nude 
woman nursing her child, with St. John Chrysostom, 
also nude and creeping on his hands and knees, in the 
background. (See page 85.) 

JusTINA AND RuFina. VM. d. 304. Patroness of Seville, 
particularly the famous Giralda Tower. Usually dressed 
as low-class peasant girls with earthenware pots and 
palms. Ribera painted a devotional picture of them in 
rich costumes. 

Martina. M. d. between 193 and 211. Double-pronged 
Pitchfork with barbed pomts and Lictor’s Axe. Very 
young and beautiful. Pictures after 16th century only. 

Perpetua. M.d. 203. A Cow is generally shown with her. 

PETRONILLA, d. c. 98. Daughter of St. Peter. 

PRAXEDES AND PupDENTIANA. d. 148. Richly dressed with 
Sponge and Cup, symbolic of their unceasing care of 
suffering martyrs and their storing of the blood of those 
who died. 

PLAUTILLA was not a saint but is frequently seen in pictures 
of the martyrdom of St. Paul, giving her veil to the great 
Missionary Apostle. 

Prisca. VM. d. 275. Lion and Palm. Eagle. 

SaBina. M. d. 2nd century. Palm and Crown. Surrounded 
by Angels. 

Susanna. M. d. 290. Sword and Palm. 

Tuecta. GVM. First of Greek Church. Loose Mantle of 
dark brown or grey or violet. With a palm. 

VERONICA (meaning True Face). Always shown holding a 
Cloth or Veil bearing the image of Our Lord. Several 
legends exist as to how this famous saint was given the 
miraculous Portrait of Christ. She was contemporary 
with the Saviour. 


e) Nuns 
(See Plates XXXVI and XX XVII) 
1) Black Habit 


SS. Bripcet oF IRELAND. d.?. Abbess of Kildare. Aug. Pas- 
toral Staff and Lamp. 


149 


BripGET OF SWEDEN. 
grim’s Staff. 

FRANCESCA Romana. d. 1440. Ben. Angel with Book. 

Hitpa oF Wuirtsy. d. 680. Ben. Rich Robe over Habit. 

Monica. d. 387. Mother of St. Augustine. Generally de- 
picted as the first nun, though it 1s doubtful whether 
there were any true monastic orders, as such, until the 
6th Century when the Benedictine Order was founded. 
St. Monica is shown as an Augustinian nun. White veil 
and generally with her Son. 

Orritta. d. 720. Ben. Crozier and palm, or a book with her 
two eyes on It. Do not mistake for St. Lucia. 

ScHotastica. d. 543. Sister of St. Benedict. 
Nun. Dove and Lily. 

Mopwena. d. 1387. Ben. Crozier and White Veil. 

WALBURGA. d. circa 778. Ben. Crozier and Flask. 

WERBURGA. d. circa 708. Ben. Crozier and Book. 


FMO. d. 1373. Br. Crozier or Pil- 


First Ben. 


2) Brown Habit, with small cape, veil, and knotted rope round 
waist. Barefooted. 


SS. CATHERINE OF Botoena. d. 1463. PC. Palette and Brushes. 

Ciara. d. 1253. FMO. Founder of “ Poor Clare” nuns. Cross, 
Lily and Pyx. 

ISABELLA OF FRANCE. d. 1270. Sometimes crowned. PC. 
Sister of St. Louis. Distributing alms. 


3) Brown with White Cloak. (See Page 132.) 


SS. Marra MappAaLena DEI Pazzi. d. 1607. Carm. Only in 
very late pictures. 

THERESA. d. 1582. Carm. Kneeling. Flaming arrow in 
Breast. Sometimes a dove. 


4) Grey. 
SS. Clara (See Section G.e.2) 


Note: After about 1400 the members of the Franciscan 
order changed the color of their order from Grey to Brown 
so that in most pictures of the 15th Century and after, the 
above saints are depicted in Brown instead of Grey. Bare- 
footed monks or nuns are always Franciscans or one of the 
branches of that order or Carmelites. (See page 134.) 
MarGARET OF Cortona. d. 1297. F. Young and beautiful 

with cord girdle and dog. Very popular in Italy only. 
Pastoral Staff and Books. 
Rosa oF ViITERBO. 3rd Order of Fr. Chapter of Roses. 


5) Grey with Black Cloak. 


S. UmittA. Real name was Rosana, Wife of Ugolotto 
Oaccianemici of Faenza. In two small works by that very 
rare artist, Buffalmaco, friend of Giotto and Boccaccio, 
she Is seen with her husband persuading him to take the 
monastic habit. 


6) White or Black Cloak over White Robe with White Veil. 


SS. Acngs oF Monte Putciano. d. 1317. Dom. 

CATHERINE OF SIENA. d. 1380. Dom. With the Stigmata, or 
fainting as she receives them. 

Rosa or Lima. Dom. (See Section G.a.) 

















f) Ricuty DressEp 


SS. AFra OF Brescia. d. circa 122. VM. Generally in groups 
of Brescian Saints, e. g., SS. Jovita, Faustino, Bishop 
Apollonius. 

Anastasia. M. d. 304. Stake, Faggots, and Palm. 

BarBarRA. With Tower or Chalice. (See section G.a.) 

CATHERINE OF ALEXANDRIA. (See section G.a.) 

CeciL1A. (See section G.a.) 

CurisTINA. (See section G.a.) 

Justina of AntiocH. VM. d. 304. Unicorn and Palm. (See 

age 30.) 

Een Gree pial wad Janclin-or Lyng or 
sitting in a Sarcophagus. 

Juria. VM. d. 5th cent. Young and beautiful. Often with 
St. Afra of Brescia, or St. Celsus. 

Lucia. LVM. d. 303. Eyes on a platter or skewer. Poniard 
in her neck. Palm. 

MarGARET OF ANTIOCH. VP and M. (See section G.a.) 

Martina. VM. d. very early. Two-pronged Fork with barbs. 
Young and beautiful. 

Mary MAGDALENE, sometimes. (See Pages 68-73.) 

PETRONILLA, daughter of St. Peter. (See Section G.d.) 

Ursuta. (See section G.a.) 


H HERMIT SAINTS 
(See Plate XXIV and Pages 114-119.) 

SS. AntHony oF Ecypt. d. 357. Founder of Monachism. 
Crutch with T-shaped handle. Pig. Aspergill. Bell. 
Flames under foot. Often a T on shoulder of his habit. 
St. Anthony is usually represented in a monastic habit with 
a hood. 


Epurem. FGC. Hermit of Edessa, Syria. 

Jos (Giobbo). Found only in Venetian pictures under guise 
of St. Onofrio (see Index). 

Gites OF EpInBuRGH. d. 725. In monastic habit, with hind 
wounded by an arrow. Sometimes it goes through St. 
Giles’ hand. He is often in a cave. 

Hirarion. Contemporary with Julian the Apostate. Riding 
on an Ass, in the Campo Santo frescoes in Pisa. 

JerRoME. The Great Doctor of the Church (see under Car- 
dinals) is more frequently shown in art as a semi-nude 
hermit, in the desert, with the Skull and Crucifix and the 
Lion which is his special attribute (see Plate XXIV and 
Chapter VIII). 

Macarius. d. 394. Very old and bent, with skull, and crutch. 

Onorrio. Represented as very old and emaciated with long 
matted beard. Naked, save for a leafy branch girded 
about his loins. Sometimes money lies at his feet to indi- 
cate his scorn of it. (See SS. Jerome and Onofrio, in 
Marco Basaiti’s “‘ Meditation on the Passion,” attributed 
to Carpaccio, in the Metropolitan Museum.) 

PauL THE Hermit. d. 3rd century. Old, very emaciated, 
semi-nude with palm-leaf girdle. White hair and beard. 
Palm tree nearby. (Very much like St. Onofrio. See 
Page 114.) 

Procopius. d. 304. Relinquished crown of Hungary to be- 
come a Hermit. A Hind is his attribute, but without an 
arrow, as in portrayals of St. Giles. 

Ranieri. d. 1161. Eight pictures of his life and career by 
Simone Memmi (Martini) and Antonio Veneziano are in 
the Campo Santo in Pisa. 


J MISCELLANEOUS SAINTS (MALE) 


SS. ACHILLEUS AND Nereus. MM. d. c. 260. Secular costume 
bearing palms, one on each side of Flavia Domatilla, 
whom they dissuaded from marrying Aurelian. 

Ceisus AND Nazareus. MM. Always represented together. 
Ce.sus, young. Nazareus, old. Carry swords and palms 
of martyrdom. (See Titian’s masterpiece in the church 
of these saints in Brescia.) 

Curysantuus. M. d. 257. With St. Daria. 

Crain. M. d. 3rd century at Rouen. Window in Church 
of St. Maclou, Rouen. Headless. 

Cosmo AND Damian. MM. d. 301. As doctors with Red Robes 
and Puffed Caps. Always together. Patrons of the 
Medici Family. (See Plate XXIX.) 

CRISPIN AND CrISPINIAN. MM. d. 300 or 287. Awl and Shoe- 
maker’s knife. Frequently seen in Flemish and Bur- 
gundian art. 

Cyri_ AND Metuonius. Always represented together. CyriL 
with a book, Meruopius with a picture in a frame. 

ELEAZAR, Count oF SABRAN. d.c. 1310. Sheaf of Papers with 
red wax seals hanging from them. With St. Delphine, 
his wife. 

GERVASIUS AND Prorasius. MM. d. 69. St. Gervais et St. 
Protais in French. Almost always shown together in 
narrative pictures, with St. Ambrose. 

Hippotytus. M. d. 248. Bunch of Keys, as Jailer of St. 
Lawrence. 

JULIAN oF Rimini. M. d. ?. Young, graceful, in courtier’s 
dress. (See picture by Lorenzo di Credit. Plate X XIX.) 

Omosuono. Merchant of Cremona. In picture by Bart. 
Montagna in the Berlin Gallery, he is shown with long 
fur-trimmed robe down to his feet, held in at waist, giving 
alms to a beggar at his feet. (See Plate XX XIII.) 

Pancras. M. d. 304. Beautiful boy of 14. Rich secular 
dress with Sword and Palm. 

PANTALEON. M. d. 4th century. Physician’s robe, with olive 
branch or palm or both. Asa martyr he is depicted much 
like St. Sebastian, save for a sword imstead of arrows. 
Young and handsome. 

Peter Exorcistus and Marceciinus. MM. 
Priestly robes, with palms. Always together. 

Puocas. M. d. 303. As gardener with spade. 

SEBASTIAN. M. d. 288. Velvet cap. Arrow in hand. (See 
Section L.) 

Virus. M. d. 303. Very young. One of the 14 Patron Saints 
of Germany. Many attributes: Orb. Palm. Cauldron. 
Lion. Wolf. Cock. (See Plate XX XVII.) 

Yves oF Brittany. d. 1303. Patron of all European lawyers. 
As a priest, giving his secular clothes to the people. 


ol, 2Y0yip 


K MONKS AND FRIARS 
(See Illustrations, Chapter XII.) 
a) Black Habit. (See Plate XXXV.) 


SS. AUGUSTINE OF CANTERBURY. d. 604. Ben. Generally shown 
as an Archbishop. (See section C.) 


Benepicr. FMO. d. 543. Ben. Bearded (not in Flemish and 
German pictures). Pastoral Staff, Mitre, Aspergill, Raven, 
Broken Sieve and of course a Book. 

BeENeEpict oF ANIAN. d. 821. Ben. Converted St. William 
of Aquitaine, grandfather of Eleanor, wife of Henry 
Plantagenet of England. Better known under French 
name of Saint Benoit d’Aniane. 

BERNARD OF MeEnTHON. d. 1008. Founded the famous Swiss 
monastery of St. Bernard, with its life-saving dogs. 

CLoup (pron. Cloo). d. 560. Ben. Grandson of Queen Clo- 
tilda. (See Sect. G.a.) 

Dunstan. (See section C.) d. 988. Ben. In drawing by himself 
he is shown as a Benedictine Monk. 


Fevix oF Vators. FMO. d. 1212. Co-founder of Trini- 
tarians. As Augustine Hermit near a fountain at which 
a deer is drinking. 


FRANcIS Xavier. d. 1550. Jes. Famous Missionary who 
converted 200,000 to Christianity in Japan. Only in late 
pictures. 

Francis Boreia. d. 1572. Jes. Third General of the Order. 

Gites oF Epinpurcu. d. 725. Hermit. Generally shown in a 
Benedictine habit. (See section H.) 

GuTHLAC OF Croypon. d. 714. Ben. Whip (of St. Bar- 
tholomew). 


IGnatius Loyora. FMO. d. 1556. Founder of Jesuit Order. 


Seventeenth Century pictures only. “‘Monogram”’ of his 
order IHS (see Index). 


Joun Nepomuck. d. 1383. Aug. Five stars. Padlock on 
mouth or in hand. 


LEONARD. (See section F.) Only rarely shown as a Ben. 
monk. 


LieEvEN or Livin. d.656. Ben. Tongue held by pincers. 


Louis Gonzaca. d. 1591. Jes. No attribute but always 
shown as very young. He died at 23 years of age. 


Maurus. d. 584. Ben. Censer or Book. Introduced the 
Ben. order into France at Glanfeuil (now St. Maure-sur- 


Loire). 
Neor. d. 878. Ben. Aged with beard. Pilgrim’s staff and 


wallet. 


NicuHoLtas oF ToLentTiINno. d. 1309. Aug. Star on Breast 
and Crucifix entwined with Lilies (see Plate III). 


Nitus oF Grotto Ferrata. d. 1002. Ben. Generally shown 
in a narrative manner, e. g., curing the epileptic boy, by 
Domenichino at Grotto Ferrata. 


Puitie Benozzt. FMO. d. 1285. 
viti”’ (Servants of the Virgin). 


Puitip Nert. FMO. d. 1595. Founder of the Order of 
Oratorians. Only in very late pictures. Canonised 1n1622. 


Pracipus. M. d. 584. Ben. or as a deacon (see Section F). 
Only in pictures with St. Benedict. 


Founder of the ‘‘Ser- 


STANISLAS KortzKa. d. 1589. Jes. On couch with angel by 
his side. Very young. 


WILLIAM oF AQuiITAINE. d. 813. Ben. Grandfather of 
Eleanore of Aquitaine, wife of Henry Plantagenet of 
England. Shield with 3 fleurs-de-lys and three crescents 
or as a Ben. laying aside his cuirass and helmet. 


b) Brown Habit (all Franciscans in later pictures; see note in 
section Ge4). (See Plate XXXVI.) 


SS. BERNARDINO OF SIENA. F.M.O. d. 1444. Fr. Founder of 
the ‘“Osservanti”’, Reformed Franciscans. Tablet with 
IHS and Rays or 3 Mitres. Or a hill of 3 mounds with a 
banner bearing a Cross. Always thin and emaciated. 


(See Plates XX XIII and XXXVI.) 


FeLix oF Cantaticio. d. 1587. First Capuchin Saint. Only 
in 17th century Spanish art. Large Sack with two ends 
slung over his shoulder. Or with Child Christ giving him 
a loaf of bread (Murillo). Dark brown tunic, peaked 
hood and bare feet. 


Francis oF Assist. FMO. d. 1226. Founder of Franciscan 
Order. Stigmata. Crucifix or Cross. Lily. Lamb. Skull. 
Three maidens. Feeding the Birds, etc. In Grey im all 
early pictures. 


Francis DE Paute. d. 1507. Fr. Modified as Hermits of 
St. Francis or Freres Minimes. Very old with long grey 
beard. Only in late art e. g. Tiepolo (1692-1769). 


JoHN CapistRANo. d. 1456. Fr. Tramples a Turk beneath 
his feet and holds a Banner and Cross. Crucifix is his 
special attribute. 


PETER oF ALCANTARA. d. 1562. Fr. Canonised in 1669. 
Walking with lay brother on sea. Star over his head. 








c) Brown with white cloaks. (See Plate XXXVI; Nuns.) 
SS. AnceLus. M. d. 1225. Carm. Martyr’s Palm. Some- 





times red and white roses issuing from his mouth. Only 


in late works. 


JUAN DE LA Cruz (JOHN OF THE Cross). d. 1591. First bare- 
footed Carmelite. With 4 books written by him. Crucifix 
and Lilies. Only in very late pictures. 


d) Grey. (See Plate XXXVI; 3). 


SS. ANTHONY OF Papua. d. 1231. Fr. Lily and Crucifix. Some- 
times with Infant Christ on his book. 


Francis oF Assisi. (See Section K.b.) 


Juan pe Dios. FMO. d. 1550. Founder of the Brothers of 
Charity. Hospital of St. Jean de Dieu (Paris, etc.). 
Pomegranate and Cross. 


e) Grey with black cloak. (See Plate XXXIX). 


St. GIovaANNI GUALBERTO. FMO. d. 1073. Founder of Vallom- 
brosan Order (Reformed Ben.) (See Plates VI and 
XXXIX). 


f) All white. Plain. (See Pages 122, 124.) 


BERNARD DE CLairvAux. FMO. d. 1153. Founder of Cister- 
cians (Reformed Benedictines). Preached the second 
Crusade in 12th century. Sometimes wears the mitre and 
crozier as Abbot of Clairvaux. Considered the greatest 
man of his day. Sometimes carries his book “‘Missus 
est’’ with three Mitreson it. Famous picture by Filip- 
pino Lippi (see Page 124 and Section A). 

BERNARD Protomer. FMO. d. 1348. Founder of Olivetans. 
Olive Branch. 


Bruno. FMO. d. circa 1100. Carth. Hands crossed over bosom. 

HERMANN-JOSEPH. d. 1236. Prem. His dream of espousal to 
the Virgin, whence he acquired his second name of Joseph. 

Hucu oF GrReNosLe. d. 1132. Left his Bishopric to become 
a Carthusian under St. Bruno. Tortoise. 

Romuatpo. FMO. d. 1027. Founded Order of Camaldoli 
(Camaldolese). Habit of his order. Full white beard and 
T-shaped crutch. (See Page 122.) 


g) White with Cross of Red and Blue. 


Sr. JoHN DE Matua. FMO. d. 1213. Founder of the Trinita- 
rians (Parent institution called Mathurins). Red and 
Blue Cross on breast. Two fettered captives with angel 
in vision. Do not confuse with the deacon, St. Leonard. 


h) White with another badge (see Plate XX XIX and Page 130). 


Sr. Peter Norasco. FMO. d. 1258. Founded Order of “‘Our 
Lady of Mercy.”’ (From Aug.) Very old. White habit 
with shield of King James, “‘el Conquistador,” on breast, 
the badge of his order. 


i) White with Blue Cap. (See Page 126.) 


Str. LorENzo GiusTINIANi. d. 1455. Aug. First Patriarch of 
Venice. No regular attribute. Only canonised in 1690 
but treated as Saint for two centuries before. (Famous 
pictures by Gentile Bellini in S. Maria dell’Orto Church, 
Venice, and by Pordonone in the Accademia.) 


k) White with Black Cloak. (See Pages 130, 131.) 


SS. AtBErRTus Macnus. Master of St. Thomas Aquinas (see 
below). Only seen with his famous pupil, e. g., Fra 
Angelico’s Coronation, in the Florence Academy. 

Dominick. FMO. d. 1221. Founded Dominican Order. 
Instituted use of Rosary. Lily. Crucifix. Star on or over 
his head. Dog. Book. 

Hyacintu. d. 1257. Dom. Not canonised until 1594. There- 
fore only seen in very late pictures, particularly in 
Paris Churches. Crucifix and Pyx. 

Peter Martyr. M. d. 1252. Dom. Gash or knife in head. 
Distinguished by dress from Archbishop St. Thomas a 
Becket. (See Plate XXXVII and Page 131.) 

RAYMOND OF PENAFoRTE. d. 1275. Dom. Third Gen. of 
Order. Kneeling on his mantle as a raft, or scene shown 
in background. 

St. THomas Aguinas. d. 1274. Dom. “The Angelic Doc- 
tor.’ Third great saint of the order. Sun on Breast, and 
book shedding rays (See Plate XX XV and Page 131). 

VincENT Ferraris. d. 1419. Dom. Crucifix. Frequently has 
Wincs as symbols of his divine mission (See Winged 
Saints). 


NUDE OR SEMI-NUDE (MALE) 
(See also ““HErmiTs.”’) 
(See Pages 87-91.) 
SS. Avexis. d. 400. Patron of Pilgrims and Beggars. Staff 
and Letter in his hand. 

CHRISTOPHER. M. d. 364. Giant fording stream, in short 
loose garment, carrying the Christ child on his shoulder. 
Palm tree or heavy pole as staff. (See Page 91) 


























L 


151 


JOHN THE Baptist. Light reed Cross. Camel hair garment 
Lamb. (See Chapter VII and Index.) 

SeBasTIAN. M. d. 288. Attached to a tree, with arrows 
driven into his flesh. Sometimes in rich costume holding 
an arrow in his hand. This is rare. (See Plate XXVIII 
and Page 88). 


M PILGRIMS 


(See Pages 88 and go.) 

SS. James Masor (see Section B, Apostles). 

Patrick. d. 464. Apostle of Ireland. When not represented 
as a Bishop, wears a hooded gown with girdle and a pil- 
grim’s staff and wallet. Standard with Cross and Book. 
Serpent beneath his foot. Or as on Page 120. 

Rocu. d. 1327. Showing ulcer on his thigh. Cockleshell in 
hat. Staff and wallet. Frequently a dog. (See Plate 
XXIX and Page 88.) Patron against sickness, particu- 
larly plagues and epidemics. 

SEBALD OF NuREMBURG. d. 770. Carries a model of the 
Church of Nuremburg, built in his honor. Most dis- 
tinguished of German Saints. 


N POPES 


(See Plate XXIV and Pages 77-79.) 

SS. Ctement. M. d. 100. Third Bishop of Rome. Anchor. 

Fapian. M. d. 250. Dove. Palm. (Do not confuse with St. 
Gregory.) (See Plate XXVII.) 

Grecory. d. 604. Instituted the celibacy of the Clergy and 
the Gregorian chants. Abolished slavery and persecution 
of prisoners. 
in his hand. 

Perer. M. d.67. First Bishop of Rome, the Saint of Saints. 
Prince of the Apostles. Frequently shown as a pope (see 
pete XX) with the Keys and Book. Sometimes with a 
ish. 

SyLvEsTER. d. 335. Bull crouching at his feet. Sometimes a 
small dragon, or a tablet with portraits of SS. Peter and 
Paul. (Plate V.) 


oO 


Dove near his ear and book (his Homilies) 


ROYAL OR DUCAL SAINTS (MALE) 
(See Plates XX XVII and XX XVIII.) 


SS. Lupo, with SS. Alexander, Grata and Adelaide, in Ber- 
gamese pictures. 

BaAvoON OF GHENT. d. 657. Falcon. Often shown as a Hermit. 

CASIMIR OF PoLaNp. d. 1483. Spurned Crown at his feet. 

CHARLEMAGNE, EMPEROR OF FRANCE, ITALY AND GERMANY. 
d. 814. Book (Scriptures, which he caused to be correctly 
translated). 

FERDINAND OF CasTILE. d. 1152. In armor with crown and 
sceptre near him. He expelled the Moors from Spain. 

Henry oF Bavaria. d. 1024. In armor, crowned. Model of 
the Cathedral of Bamberg in hand. 

Louis oF France. d. 1270. King Louis IX. Brought the 
true Crown of Thorns to France and built the famous 
Sainte Chapelle in Paris to house it and a portion of the 
True Cross. In royal robes with embroidered fleurs-de-lys, 
and Crown of Thorns in hand. 

Louis oF ToutouseE (see Bishops). Royal blue Cope with 
fleurs-de-lys, with Crown at his feet. 

Miniato. M. d. 250. Prince of Armenia. T-shaped Cross. 
Scarlet robe. Javelins, lily, and palm. 

Oswa.p. d. 642. Carries a Cross. St. Cuthbert (see Section 
D) sometimes carried the crowned head of St. Oswald, 
whose remains were buried in the Cathedral of Durham. 

SIGISMOND. d. 525. Cousin of Queen Clotilda. (See Plate 
XXXVII.) 

STEPHEN OF Huncary. d. 1038. First Christian King of 
Hungary. In armor with his crown. Or with standard 
with the Cross and sword. 

WENCESLAS OF BoHemiA. M. d. 938. With shield and stan- 
dard bearing black Imperial Eagle and palm. (Plate 
XXXVI.) 


WARRIOR SAINTS (IN ARMOR) 

(See Pages 86, 115, and Plate XX XVII, etc.) 

SS. ALExaNDER. M. d. 251. Palm. Generally with SS. 
Adelaide and St. Grata 

Aprian. M. d. 290. Anvil. 

Epnesus. M. d. circa 304. In fresco of Campo Santo, Pisa. 
Angelic Horseman (St. Michael) hands him a banner with 
white cross on red field. (Banner of Pisa.) 

Eustace. M. d. 118. Stag with Crucifix between its horns. 
Do not confuse with St. Hubert. 

Ferice. M.d. 304. Ina “Coronation of the Virgin” by Sam- 

macchini in the Bologna Gallery, he is shown with his 

invariable companion, St. Naborre, in complete armor. 


P 


FERDINAND OF CASTILE (see Royal Saints). 

Fiorian. M. d. circa 306. Mill-stone, or throwing water on 
a house afire. Rarely in Italian art. 

GeEorGE OF Cappapocia. M. d. 303. The Great Martyr. 
Patron of England and Russia (pre-Revolution). Dragon 
and broken lance, or with sword. Sometimes on horse- 
back. White banner with red cross. 

GerEON. M. d. 286. Officer of the Theban Legion. Much 
venerated in Germany. Famous church of St. Gereon at 
Cologne. Standard and palm. 

Henry oF Bavaria (see Royal Saints). 

HeErRMENGiILbDus. M. d. 586. Cross. Blue cuirass and scarlet 
mantle. Picture of his apotheosis by Herrera. 

JAMES THE GREAT, OR Masor. M. The Apostle. Sometimes 
shown in armor leading the Spanish host at Alveida. 
Saint Jago, or Santiago, is still the Spanish battlecry. 

Joun. M. d. 362. Always shown with his brother, St. Paul, 
as Roman soldiers. Sword. 

Leopotp oF Austria. d. 1136. Rosary in his hand. Crown 
as a Royal Saint. 

Lonoinus. M. d. 45. The Centurion who pierced the side 
of Christ. Lance. Patron of Mantua. Famous picture 
by Mantegna in the Louvre. (See also Plate XV). 

MartTIN oF Tours. Armor, covered with a cloak, which he is 
seen dividing with a beggar. (See Section D.) 

Maurice. M. d. 286. Commander of the martyred Theban 
Legion. Banner with spread eagle. Red Cross on breast. 
Sword and palm. Sometimes dark-skinned as a Moor. 

MicHaeEL. The Archangel. See Saints with Wings. 

Nasor. M. d. circa 303. Picture by Sammachini in Bologna 
shows him with St. Felix. Died for the faith in Diocletian 
persecution c. 303. 


Procutus. M. Head in both hands. Axe in band. 
Quintin. M. Huge iron Spit upon which he was impaled. 


Quirinus. M. d. circa 272. Horse. Hawk. Shield with 9 
balls in it. Palm. 


STEPHEN OF HunGary. See Royal Saints. 

Tueopore. M. d. 300. Armed Knight on horseback. Young 
and beautiful. 

Tueonestus. M. d. 286. Another of the Theban Legion, 

Torre. M. d. 70. Roman warrior. Banner with Red Cross 
and sword. Do not confuse with St. George. 

Vicror oF MarseiLies. M. d. circa 304. As a Roman sol- 
dier. Millstone. 

Vicror oF Miran. M. d. 303. Horseback as a Roman 
soldier or with oven throwing out flames. 

VITALIS OF RAVENNA. M. d. circa 62. On a white charger 
with standard of victory. Or as soldier with martyr’s 
crown. 

WiLuraM OF AguiTAINE. d. 812-813. Laying aside his helmet 
and cuirass. Breviary on ground. Behind him shield 
with 3 fleurs-de-lys and three crescents. 


SAINTS WITH WINGS 
(See Pages 52-55) 


Q 


The ANGELS. 

ARCHANGEL GABRIEL with a Lily. 

ARCHANGEL MICHAEL with Sword and Scale. 

ARCHANGEL RAPHAEL with young Tobias. 

Sr. VINCENT FERRARIS over a Dominican Robe, as symbols of 
his fervor. 


THE SAINTS WHO APPEAR IN ART CLASSIFIED ACCORDING 


TO THEIRSBIVERS*GATEG@ RI Es 





THE ARCHANGELS (Treated as Saints). 
St. Michael. St. Gabriel. St. Raphael. 


Tue EVANGELISTS. 
SS. Matthew, Mark, Luke, and John. 


Tue APOSTLES. 

SS. Peter, Paul, Andrew, James the Mayor, 
Philip, Bartholomew, Thomas, James the Minor, 
Simon and Jude, Matthias (Judas Iscariot, 
though ranking as an Apostle, is, of course, not 
classed among the Saints). St. Barnabas, though 
not strictly speaking an Apostle, 1s considered 
by the Church as one of the Apostolic Group. 


Tue Docrors OF THE CHurcH. (See Page 75). 


Tue Hoty Famity. 
The Virgin Mary (Dei Genetrix), SS. John the 
Baptist, Joseph, Anne, Elisabeth, Joachim, and 


CONTEMPORARIES OF Our LorpD, AND THE BLESSED 
PENITENTS. 
SS. Mary Magdalene, Martha, Lazarus (brother 
of the two former Saints, he whom Christ 
raised from the dead), Maximian, Marcella, 
Mary of Egypt, Mary the Penitent, Thais, and 
Pelagia. 


(See 


THE Patron SAINTS OF CHRISTENDOM. 
Page 86) 

Tue VirGIN PATRONESSES OF CHRISTENDOM: 
SS. Catherine of Alexandria, Barbara, Ursula, 
Margaret of Antioch. 

THE First OF THE EarLy Martyrs: 

SS. Stephen, the Protomartyr, Lawrence, Hippo- 
Iytus, Vincent and Vitus. 


152 


THE GREEK MARTYRS: 


SS. Thecla, Euphemia, Pantaleon, Dorothea, 
Justina and Cyprian, Apollonia. 


THE Four GREAT VIRGINS OF THE LATIN CHURCH: 
SS. Cecilia, Agnes, Agatha, Lucia. 


Tue Roman Martyrs (in alphabetical order): 

SS. Aglae, Achilleus and Nereus (together), 
Alexis, Anastasia and Chrysogonus (together), 
Balbina, Bibiana, Cesareus, Clement, Chrysan- 
thus and Daria (together), Eugenia, Felicitas and 
her Seven Sons, John and Paul (together), Mar- 
tina, Pancras, Peter and Marcellinus (together), 
Prisca, Sabina, Susanna, Veronica. 


Martyrs OF NorTHERN AND CENTRAL ITALY, 
FRANCE AND SPAIN (in alphabetical order): 


SS. Adelaide, Afra of Augsburg, Afra of Brescia, 
Alexander of Bergamo, Ansano of Siena, Celso of 
Milan (and Nazzaro), Christina (and Justina), 
Crispin, Crispianus, Ephesus (and Torpé), Eu- 
lalia, Faustino (and Jovita) of Brescia, Felice 
(and Naborre), Filomena, Fina of San Gemignano, 
Gervasius (and Protasius) of Milan (and their 
father, Vitalis of Ravenna), Grata, Jovita (and 
Faustino) of Brescia, Julia, Julian of Rimini, 
Justina of Padua, Justina (and Rufina), Leocadia, 
Lupo, Miniato of Florence, Naborre (and Felice), 
Nazzaro (and Celso) of Milan, Panacea, Potitus 
of Pisa, Protasius (and Gervasius) of Ravenna, 
Reparata, Rufina (and Justina), Torpé (and 
Ephesus), Vitalis of Ravenna. 


eee lin res ANS LISTED ALPHABETICALLY, WITH 
iiibeoc Noe Ww TO BEAR THEM IN SACRED ART 


Note: Costumes are not treated as attributes for the purpose of this list. 


They are used in a special 


classification on pp. 145-152. For other mentions of Saints, see the General Index and Index of Saints. 





ANCHOR 


ANGEL, with boy carrying 
fish. 


— or man, accompanied by, 


ANGEL, accompanied by. 

— performing such acts as: 
crowning her with roses. 
holding arrow, flame- 

tipped. 
— basket of apples and 
roses. 
— book. 
comforting captives. 
holding organ, with 


— pyx. 

— shield of three fleur-de- 
lys. 

ploughing. 


ANGELS, surrounded by 
—, buried by, 


ANVIL. 
ARMOR. 


ArRRoOw in breast. 
— flaming in breast. 
— im hand. 


—piercing doe or hart or 


bind. 
Arrows, pierced by. 
ASPERGILL. 
Ass, riding an. 
Aw t or shoemaker’s knife. 


AXE. 

— in hand. 

— in head. 

— Lictor’s (fasces). 


Baa, large, over shoulder. 
(See Purse.) 


Batts of gold, three. 


BANNER (symbol of victory). 


— red, with white cross. 


— white, with red cross. 


— with black spread eagle. 


= =— CrOss. 


Clement. 


Archangel Raphael. 


Matthew; Stanislas Kotzka. 


Rosalia of Palermo. 
Theresa. 


Dorothea of Cappadocia (cir- 
clet of roses on head). 

Francesca Romana. 

John de Matha. 

Cecilia. 

Bonaventura. 


Clotilda. 


Isidore. 


Sabina (crowned). 
Catherine of Alexandria. 


Adrian. 
See Pave 141. 


Ursula. 

Theresa. 

Christian; Edmund (always 
crowned); Sebastian (rare) 
Ursula; Christina. 

Giles of Edinburgh (as her- 


mit). 
Sebastian; Pantaleon. 
Anthony of Egypt; Benedict. 
Hilarion. 
Crispin and Crispianus. 


Matthias (in German pic- 
tures); Proculus. 

Peter Martyr. 

Martina. 


Felix of Cantalicio. 


Nicholas of Myra. 


Gereon; Julian of Rimini; 
Patrick; Stephen of Hun- 
gary; Vitalis of Ravenna, 
Liberale; and, at times, all 
martyr-saints. 

Ephesus (handed to him by 
St. Michael). 

George, and many other war- 
rior saints at times; Repa- 
rata; Torpe; Ursula. 

Maurice; Wenceslas of Po- 
land. 

Giles of Edinburgh. 


153 


BASKET, with 3 apples and 3 
roses. 


Beasts, wild, surrounded by. 


BeEp, iron, holding. 


BEEHIVE. 


BecGar, dividing cloak with. 
— kneeling at feet. 


—s, giving alms to. 
— — clothes to a. 


BELL. 


Back Face (see also Moor). 


Brier in background. 


BLACKSMITH with anvil, ham- 
mer, tongs and bellows. 


Bones, two human, carrying. 


Book. holding a. 
(generally the Gospel) 


— pierced by sword. 
— shedding rays. 


Books, trampling, under feet. 


Bort e or flask. 
— on the end of a staff. 


Box, ointment, alabaster, 
(pyx). 


BraNcH encircling loins. 


— olive, in hand. 


BreabD, lap full of, and roses. 


Breasts, female, severed, on 
a platter or held in hand. 


Buitpincs in hand (with 
high campanile). 

— — — (Cathedral of Bam- 
berg). 

— — — (church). 


— — — (Church of Nurem- 
berg with two towers). 

— — — (monastery). 

— in background. 


Butt, crouching at feet. 


Dorothea of Cappadocia. 


Euphemia; Ignatius of An- 
tioch; Thecla. 


Faith; Lawrence (gridiron). 


Ambrose; Bernard of Clair- 


vaux. 


Martin of Tours. 

Elisabeth of Hungary; Juan 
de Dios; Omobuono. 

Elisabeth of Portugal. 

Thomas of Villanueva. 


Anthony of Egypt (the her- 
mit); Pol de Leon. 


King of Ethiopia (in pictures 
of the Adoration of the 
Magi); Maurice; Victor. 


Lazarus. 

Eloy. 

Ambrose. 

Not distinctive. AII the 
Apostles, Doctors of the 
Church and numerous 


other Iearned saints. Look 
for more distinctive em- 
blems. 

Boniface. 

Thomas Aquinas. 


Cyprian of Antioch. 


Omobuono. 
James the Great, and other 
Pilgrims (See Page 151). 


Mary Magdalene; Cosmo and 
Damian. 


Jerome; Paul the Hermit. 
Onofrio. 

Bernard Ptolomei; Pantal- 
eon. 


Elisabeth of Hungary. 


Agatha. 


Petronius (see Plate VI). 


Henry of Bavaria and Cune- 
gunda, his wife. 

Several Popes who con- 
structed famous churches; 
Cunibert. 

Sebald. 


Anthony (rare); Jerome. 
Benedict or Bennet Biscop. 


Sylvester. 


EMBLEMS 


CANDLE, lighted. 
— on head or in hand. 


Captive kneeling at feet, 


With, 


CARDINAL ’s Hart. 


CARPENTER’S or builder’s 
square. 


CAULDRON OF OIL. 


CENSER. 

CHAIN or fetters. 
CHALICE. 

CHASUBLE full of stones. 


CuiLp, Curist-, Giving him 
head. 

— — in arms or on a book. 

— — on a full-blown rose. 

— digging by sea-shore, With, 

— in arms or at feet, With, 


— Nursing, 
— on his shoulders, walking 
through water. 


CHILDREN, With, 
— Three, in a tub. 


CuHuRCH in hand. 
Crus, Fuller’s, 


Coats, Live, 


Cock. 

COCKLESHELL in hat. 
CoLumn, Bound to, 
Comes, Iron, 
Convert, Baptising, 
Cow, With, 


Cripp.Es, Surrounded by, 


Cross. 


— large. 

— transverse. 

— at the end of a staff or 
crozier. 

— black on white. 

— blue and red on breast. 

— red, on breast. 


Crown, Wearing, 


— at feet or side. 


SAINTS 


Genevieve; Gudula. 
Erasmus or Elmo. 


Leonard; Radegunda. 


(See Hart.) 


St. Thomas. 


John the Evangelist; Vitus. 
Seven Maccabean Youths 
(See Plate IX). 


Maurus. 

(See FETTERS.) 
(See Cup.) 
(See STONES.) 


Felix of Cantalicio. 


Anthony of Padua. 

Rosa of Lima. 

Augustine of Hippo. 

Brice; Marina; Vincent de 
Paule. 

Genevieve of Brabant. 

Christopher. 


Elisabeth of Hungary. 
Nicholas of Myra. 


(SEE BurLpINGs.) 
James Minor. 
Brice. 

Vitus. 

Roch; all pilgrims. 
Bibiana. 

Blaise. 

Boniface. 
Perpetua. 


Filomena; Elisabeth of Hun- 
gary. 


Clara; Hermengildus; John 
Gualberto; Juan de Dios; 
Margaret of Antioch; Min- 
lato. 

Oswald; Helena. 

Andrew. 

Philip. 


Appollinaris. 
John de Matha. 
Maurice. 


See Pages 147 and 151, Sec- 
tions Ga., O., P. 

Casimir of Poland; Louis of 
Toulouse; Procopius (as 
hermit); Ferdinand of Cas- 
tile. 


154 


EMBLEMS 


— Long veil under, wearing, 


— martyr’s, wearing, 
— of roses. 


— of thorns. 


— — — in hand. 


Crowns, Three, embroidered 
on robe. 


CROZIER. 


CRUCIFIX. 


— entwined with lilies. 


CRUTCH. 

— sometimes with a bell sus- 
pended from it. 

— T-shaped. 


Cup. 

— broken. 

— — (or pitcher). 

— and sponge with drops of 
blood. 

— and water (chalice). 

— with serpent (chalice). 


DAGGER. 
— in back or throat. 
— in breast. 


Demon, Bound With, 


— at feet, With, 


— trying to blow out a lan- 
tern, With, 


Devit, Holding, by nose. 


Disu, Beggar’s, holding, 
— Eyes on, 


Doe. 


Doe. 
— at feet. 
— with a torch In its mouth. 


Dove. 


— on shoulder. 


Dracon at feet, With, 


— Small, its mouth bound 
with threads. 


SAINTS 
Adelaide; Elisabeth of Hun- 
gary. 
See INDEx. 
Cecilia; Dorothea of Cappa- 
docia; Rosalia of Palermo. 
Catherine of Siena; Rosa of 
Lima; Theresa. 
Louis (Louis IX of France). 


Charlemagne. 


All popes, bishops, abbots or 
abbesses, at times. 


Dominick (at times); Francis 
of Assisi; Francis Xavier; 
Hyacinth; Jerome; John 
Capistrano; John de Ia 
Cruz; Mary Magdalene; 
Rosalia of Palermo; Vin- 
cent Ferraris; all hermits. 

Nicholas of Tolentino. 


Macarius. 
Anthony of Egypt. 


Romualdo. 


Thomas Aquinas. 

Donato of Arezzo. 
Benedict. 

Pudentiana and Praxedes. 


Barbara. 
John the Evangelist. 


Romulo. 
Lucia; Bibiana; Peter Martyr 
Justina of Padua. 


Bernard of Clairvaux; Dun- 
stan. 


Catherine of Alexandria; 
Norbert. 


Gudula;- Geneviéve. 


Dunstan. 


Alexis. 


Lucia. 
(See H1Np.) 


Roch. 
Margaret of Cortona. 
Dominick. 


Cunibert; Fabian; Gregory; 
Scholastica; Theresa 
(sometimes). 

Basil (no mitre). 


George; Margaret of Anti- 
och; Martha of Bethany; 
Mercuriale; Romain; Theo- 
dore. 

Sylvester (Plate V). 


EMBLEMS 
EAGLE. 
EaseEL and brush. 


Eyes on a dish. 
— two, on a book. 


Face of Curist on a napkin. 
Facots. 
FALCON. 


Fetrers and chains. 
—  — — in hand. 


FINGER on lip. 
Fire nearby or in_ back- 
ground. 


— throwing water on burn- 
ing house. 


Fisu. 
— at feet. 


— suspended from crosier. 
— with a key in its mouth. 


FLaMeE of fire from oven. 
— — — inhand or on breast. 
— — — under foot. 


FLAMING HEarT. 


FLEUR-DE-Lys embroidered 
on Bishop’s robes. 

— — — royal robes. 

— on shield (gq. v.). 

FLowe_ers, three. 


Fork, two-pronged. 


FounrTAIN. 
G.iass of wine. 


G.LoseE and cross. 
Goose. 
GRIDIRON. 


Harr, covered by her own, 


HALBERD. 

Harp. 

Harrow. 

Hart. 

Hart, Cardinal’s, hanging on 
a tree, or at feet, or wearing 


— — nearby, or wearing, 


Hawk. 


SAINTS 


John the Evangelist; Prisca; 
Augustine. 


Luke. 


Lucia. 
Ottilia. 


Veronica. 
Anastasia. 
Bavon. 


Leonard. 


Balbma. 


John Nepomuck; Peter Mar- 
Vales 


Anthony. 


Florian. 


Peter; Ulrich; any Apostle or 
Bishop at times. SEE INDEX 


Corentin of Brittany. 
Zeno. 
Benno. 


Victor of Milan. 
Anthony of Padua. 
Anthony of Egypt. 


(See HEART.) 


Louis of Toulouse. 


Louis (Louis IX of France). 
Clotilda. 


Hugh of Lincoln. 


Martina. 


Alban. 


Donato. 


Charlemagne. 
Martin of Tours. 


Lawrence. 


Agnes (nude); Mary Magda- 
lene. 


Jude or Thaddeus. 
Dunstan. 

Frediano of Lucca. 

(See Hinp.) 

Bonaventura. 

(See Page 147, E.) 


Jerome. 


Quirinus the Tribune. 


155 


EMBLEMS 


Heap, carrying own, 


— carrying St. Alexander’s, 
— — St. Oswald’s, 

— — upper part of a, 

— gashed. 


— of Maximian under feet. 


— severed, seated. 


Heart, crowned by thorns. 


— flaming, or transfixed by 
an arrow. 

— with I.H.S. 

—— seven arrows 
rows of Mary). 


(7 sor: 


Hinp. 

— pierced by an arrow. 
— small, in arms. 

— (See also Srac.) 


Horse. 
— -back, on. 


— — — (white). 
—s, torn by wild. 
— with three legs. 


I.H.S. in the sky or on a tab- 
let borne by Angels. 

— on heart. 

— on a tablet surrounded by 


rays. 


INSTRUMENTS, surgical. 
— musical. 


JAVELIN at feet. 
— with the point reversed. 


Ss 


Keys. 
— at girdle. 


KNiFeE in head. 


— large. 
— shoemaker’s, or awl. 


LaBARUM or Standard of the 
Cross. 


LAMB. 


LAmp. 


LANCE. 


Lec, Brack, Attaching. 


Letter in hand, pilgrim 


with. 


SAINTS 

Alban; Clair; Denis (always 
as Bishop, p. 27); Procu- 
lus; Valerie; Cheron; Ro- 
main. 

Grata. 

Cuthbert. 

Nicaise. 

Peter Martyr (as a Domini- 
can friar); Thomas a Beck- 
et: 

Catherine of 
(Plate V). 


Regulus (statue at Lucca). 


Alexandria 


Ignatius Loyola (only late 
pictures). 


Augustine. 


Theresa. 
The Madonna; 


Ireland. 


Bridget of 


Procoptus. 
Giles. 
Hubert (as Bishop). 


Quirinus. 
Paulinus; Theodora (Armed 
Knight); James Major. 


Vitalis of Ravenna. 
Hippolytus. 
Eloy of Noyon. 


Ignatius Loyola. 
Theresa. 
Bernardino of Siena. 


Cosmo and Damian. 


Lambert (as Bishop). 
Filomena. 
Miniato. 


Peter; Hippolytus. 
Martha of Bethany. 


~o7 


Peter Martyr; Thomas 


Becket. 
Bartholomew. 
Crispin and Crispianus. 


Constantine. 

Agnes; Francis of Assisi 
(rare); John the Baptist. 

Bridget of Ireland; Lucia. 

George of Cappadocia; Lon- 
ginus; Matthias (in Italian 
pictures). 


Cosmo and Damian. 


Alexis. 


EMBLEMS 


Lay 


— Rod bearing, 


LiLIEs entwining a Crucifix. 


LIon or lions. 


Loaves of bread, three, 


MANTLE as a raft, kneeling 
on, (or in background), 


MILLSTONE. 


Mirtres, Three, 
—— ona book or at feet. 


Mopbet oF BuiILpDING. 
Money at feet. 


Moor, in armour. 
—-—-—or with eagle on 
banner and shield. 


MuLE, Kneeling with, 


Musica INSTRUMENTS. 


OrGAN, Playing, 
OTTER by side. 


Ox, winged, or not. 
— at feet. 


PaDLock on lips. 


PALETTE and brushes. 


Pam in hand. 
PALM-TREE as staff. 


Papers, Sheaf of, with red 
seals hanging from them. 


Picture in frame. 
Pincers, Holding a tooth. 
—-— tongue in, 

— — devil’s tongue with, 
PLANETA. 


PLOUGHSHARES, Walking 
over, 


SAINTS 


Anthony of Padua; Casimir 
of Poland; Catherine of 
Siena (in white nun’s 
habit); Clara (as a Poor 
Clare nun); Dominick; Eu- 
phemia; Filomena; Francis 
of Assisi; Francis Xavier 
(only in late pictures); 
Muiniato; Scholastica; Juan 
de la Cruz. 

Joseph, husband of the Vir- 
gin Mary. 


Nicholas of Tolentino. 


Euphemia; Jerome; Mark; 
Prisca; Vitus; Ignatius. 


Mary of Egypt (old with 
long hair). 


Raymond of Pefiaforte. 
Christina; Florian; Quirinus; 
Victor of Marseilles. 


Bernardino of Siena. 
Bernard of Clairvaux. 


(See BuILDINGS.) 
Onofrio (sometimes). 
Victor of Milan. 
Maurice. 

Anthony of Padua. 


Cecilia (Should be an organ) 
or Angels. 


Cecilia. 
Cuthbert of Durham. 


Luke. 
Sylvester. 


John Nepomuck; Raymond. 


Catherine of Bologna; Luke 
(painting). 


All Martyrs. 
Christopher. 


Eleazar of Sabran. 


Methodius (with St. Cyril); 
Luke. 

Apollonia of Alexandria. 

Lieven. 

Dunstan. 


Benedict or Bennet Bishop. 


Cunegunda of Bavaria. 


156 


EMBLEMS 


Poe, Heavy, as a staff. 
POMEGRANATE. 


Pots, Earthenware. 
— of gold, Finding, 


Purse or bag. 
Pyx (see also Box). 


RAVEN. 


— sometimes on a millstone. 
— with a loaf in its beak. 


RING. 


Rope around neck. 
Rosary in hand. 


Roses, Chaplet of, , 
— Crown of, or in hand. 
— — — red and white. 
— fallmg from mouth. 

— red and white, in lap. 


Rute, builder’s or carpen- 
ter’s, 
SARCOPHAGUS, Sitting in, 


SAw. 


SCALES. 


Sea, Walking over, or in 
background, 


Sea, Walking over, or in 
background, 


SERPENTS at side or feeding 
from basket. 

— beneath feet. 

— issuing from chalice. 


SEVEN youths surrounding 
her. 


SHEARS. 
SuHeep, Flock of, 


SHIELD. 


— with fleur-de-lys. 

— — 3 — and 3 crescents. 

— — g balls in it. 

— of King James of Spain, 
(El Conquistador) on 
breast of white habit. 

SieVE, broken. 


Skin, Carrying own, 


SKULL. 


SLAVES around him. 


SAINTS 
Christopher. 


Juan de Dios. 


Justa and Rufina. 
Enurchus. 


Matthew. 
Clara; Mary Magdalene. 


Paul the Hermit of Thebes 
or Elijah. 


Vincent. 
Benedict, Paul, Anthony and 
Jerome, as hermits. 


Edward the Confessor. 


Charles Borrommeo. 
Leopold of Austria. 


Rosa di Viterbo. 
Dorothea of Cappadocia. 
Cecilia. 

Angelus the Carmelite. 
Flisabeth of Hungary. 


Thomas. 

Filomena. 

Simon Zelotes (see page 59) 
Archangel Michael. 


Ambrose, (or Augustine, by 
error.) 


Raymond of Pefiaforte. 


Verdiana. 


Patrick. 
John the Evangelist. 


Felicitas; or the Seven Mac- 
cabees and their mother. 


Agatha. 
Geneviéve of Paris. 


Wenceslas of Bohemia; Al- 
bert of Vercilli, and warrior 
saints, at times. 

Clotilda. 

William of Aquitaine. 

Quirinus. 

Peter Nolasco. 
XXXIX.) 


(See Plate 


Benedict. 
Bartholomew. 


Jerome (or any other dwellers 
in the desert); Macarius; 
Mary Magdalene. 


Leonard. 


EMBLEMS 
SPADE. 


SPEAR (see also LANCE). 


SPIDER Over a Cup. 
SPIKES, iron. 
Spit, huge iron, 


SQUARE, carpenter’s, 


STAG; 
— with crucifix between its 
horns. 


STAKE, bound to, 
STANDARD 


Srar, Holding, 

— on breast. 

— — forehead. 

— over head. 

—s, five around head. 


STIGMATA. 


STONES. 


— Chasuble full of, 
SwaAN. 


Sworp (not distinctive) 


— at feet. 

— Book pierced by, 
— Holding, by point. 
— in bosom. 

— Leaning on, 

— or axe in head. 

— — neck. 


Sworps, Two. 


T, Large, on shoulder or 
breast. 

TABLET, with portraits of SS. 
Peter and Paul. 


Toncs 
TORTOISE 
Tower with three windows. 


TREE, Asleep under, with two 
maidens. 

— Bound to a, 

— coming into leaf. 

— Oak, foot on fallen, 

— Palm- (as staff). 


Two Men in red robes and 
caps. 
— — — armour. 


UNICORN at feet. 


SAINTS 


Phocus of Sinope as gardener; 
Christ in the Garden. 


Longinus; Margaret of An- 
tioch; Thomas (sometimes) ; 
George. 


Norbert. 
Cassian. 
Quintin. 
Thomas. 


Julian Hospitator. 
Eustace; Hubert (as hunts- 
man). 


Anastasia. 
(See BANNER.) 


Swidbert. 

Nicholas of Tolentino. 
Dominick. 

Peter of Alcantara. 
John Nepomuck. 


St. Francis of Assisi; Cath- 
erine of Siena. 


Gaudenzio; Stephen. 
Alphege. 


Hugh of Lincoln. 


Alban; Barbara; Catherine; 
Cecilia (sometimes); Do- 
nato; George of Cappa- 
docia; John; Maurice; Mi- 
chael the Archangel; Pan- 
cras; Paul; Stephen of 
Hungary; Susanns, etc. 

Pantaleon of Nicomedia. 

Boniface. 

Matthias. 

Justina. 

Menna. 

Peter Martyr. 

Lucia. 


Paul (sometimes). 


Anthony of Egypt. 


Sylvester. 


Dunstan. 
Hugh of Grenoble. 
Barbara. 


Ethelreda. 


Sebastian. 

Zenobia of Florence. 
Boniface. 
Christopher. 


Cosmo and Damian. 


John and Paul (brothers). 


Justina of Antioch. 


EMBLEMS 


VASE or box of ointment. 
VEIL bearing image of Christ. 
— Givimg to St. Paul. 

— Long, under crown. 


WATERSPOUT. 


WHEEL, small. 
— spiked. 


WHIP. 
WINDLASS. 


WINGS. 


WOLFE. 


Wounp, Pointing to, in his 
thigh. 

—in neck, rays streaming 
from it. 


Youtus, Seven, surrounded 





SAINTS 
Mary Magdalene. 


Veronica. 

Plautilla (not a Saint). 

Adelaide; Elizabeth of Hun- 
gary. 

Swithin. 


Erasmus. (See Page 17.) 


Catherine of Alexandria. 
Guthlac. 
Erasmus. 


(See Page 7.) 


The Archangels; Vincent Fer- 
raris. 


Vitus. 
Roch. 
Lucia. 


Felicitas; the Mother of the 
Maccabean Youths. 


THIS BEAUTIFULLY-BALANCED NATIVITY AND ADORATION OF 
THE SHEPHERDS, ATTRIBUTED TO THE GERMAN SCHOOL, IS, WE 
THINK, A WORK OF A CERTAIN FLEMISH DISCIPLE OF FILIPPINO 
LIPPI, BY NAME, JAN HEMMELINCK, BORN IN 1479, AT BRUGES, 
WHERE HE EXECUTED SOME PICTURES, INCLUDING AN ADOR- 
ATION OF THE SHEPHERDS, FOR THE HOSPITAL OF ST. JOHN. 
THIS REMARKABLY LOVELY PICTURE, SO FULL OF DASH AND 
JOYOUSNESS, IN THE CELESTIAL GROUP, AND AT THE SAME 
TIME DEEP REVERENCE AMONG THOSE ON EARTH, REMINDS ONE 
CLOSELY AGAIN OF FILIPPINO’S MASTER, BOTTICELLI’S, NATIV- 
ITY, IN THE NATIONAL GALLERY, AT LEAST AS REGARDS THE 


SPIRIT OF THE WORK. 


(Courtesy of the Ebrich Galleries.) 


PLATE XLVI THE SAINTS IN ART 


ee 


1) “Christ’s Descent into Hell,” an engraving by Andrea Mantegna. Note the symbolism in the shattered door, and the 
Cross to withstand the assault of the hosts of evil. 2) Hieronymus Bosch (1450-1516), was, with Herri met de Bles, the 
best-known Flemish painter of Paradise and Hell pictures. 3) ‘‘The Pilgrims of Emmaus” by Rembrandt (1606-1669) in 
the Louvre. 4) “The Death of the Virgin,” by Hugo van der Goes, in the Bruges Museum. 5) “Paradise,” by Giovanni di 
Paolo (1403-1482), in the Siena Academy. 6) ‘‘The Last Judgment,” by Fra Angelico, in the Florence Academy. On either side 
of Our Lord is a seated company of Saints. Note the tombs in the centre dividing the Blessed and the Damned. 7) Michel- 
angelo’s great work (see Page 61) in the Sistine Chapel. 8) The same subject by Lucas van Leyden (1494-1533) at Leyden. 





CHRONOLOGICAL LIST OF THE 


BISHOPS OF ROME AND POPES 


A.D 
Peter. 
Linus. 
Cletus. 
Clement. 
Anacletus. 
Evaristus. 
Alexander. 
Sixtus I. 
Tilesphorus. 
Hyginus. 
Pius I. 
Anicetus. 
Soter. 
Eleuthertus. 
Victor. 
Zephyrinus. 
Calixtus. - 
Urban. 
Pontian. 
Anterus. 
Fabianus. 
Cornelius. 
Lucius. 
Stephen. 
Sixtus IT. 
Dionysius. 
Felix. 
Eutychian. 
Caius. 
Marcelinus. 
Marcellus. 
Eusebius. 
Melchiades. 
Sylvester. 


65 St. 
65-76 ~ 
76- 89 “ 
89-100 “ 

100-109 

109-109 

109-119 

119-128 

128-139 

139-142 

142-157 

157-168 

168-176 

176-192 

192-202 

202-218 

218-223 

223-230 

230-235 

235-236 

236-250 

251-252 

252-253 

253-257 

257-258 

259-269 

269-275 

275-283 

283-296 

296-304 

308-310 

310-310 

311-314 

314-335 

336-336 “ Mark. 

337-352 Julius. 

352-366 Liberius. 

366-384 St. Damasus. 

385-398 ‘“‘ Sericius. 

399-402 Anastasius. 

402-417 Innocent I. 

417-418 Zozimus. 

418-422 Boniface. 

422-432 Celestine. 

432-440 Sixtus III. 

440-461 ‘ Leo “The Great” 

461-468 ‘ Hilary. 

468-483 ‘‘ Simplicius. 

483-492 “‘ Felix II. (or III?) 

492-496 “‘ Gelasius. 

496-498 “‘ Anastasius. 

498-514 Symmachus. 

514-523 Hormisdas. 

23-526 St. John I. 

526-529 Felix III. (or IV.) 

529-531 Boniface II. 

$32-535 John II. 

535-536 Agapetus. 

536-538 St. Sylverius. 

538-555 Vigilius. 

555-559 Pelagius I. 

559-572 John III. 

573-577 Benedict I. 


‘ 


c 


A. D. 
577-590 Pelagius II. 
590-604 St. Gregory “the 
604-605 Sabinian. [Great.” 
606-606 Boniface III. 
607-614 Boniface IV. 
614-617 Deusdedit 
617-625 Boniface V. 
626-638 Honorius I. 
640-640 Severinus. 
640-642 John IV. 
642-649 Theodorus. 
649-655 St. Martin. 
655-658 Eugenius I. 
658-672 Vitalian. 
672-676 Adeodatus. 
676-679 Domnus. 
679-682 St. Agatho. 
682-683 “ Leo II. 
684-685 Benedict II. 
685-686 John V. 
686-687 Conon. 
687-701 Sergius. 
701-705 John VI. 
705-707 John VII. 
708-708 Sisinnius. 
708-715 Constantine. 
715-731 St. Gregory II. 
731-741 Gregory III. 
741-752 St. Zachary. 
752-752 Stephen II. 
752-757 Stephen III. 
757-767 Paul I. 
768-772 Stephen IV. 
772-795 Adrian. 
795-816 Leo III. 
816-817 Stephen V. 
817-824 Paschal. 
824-827 Eugenius II. 
827-827 Valentine. 
828-844 Gregory IV. 
844-847 Sergius II. 
847-855 St. Leo IV. 
855-858 Benedict III. 
858-867 Nicholas I. 
867-872 Adrian IT. 
872-882 John VIII. 
882-884 Martin II. 
884-885 Adrian III. 
885-891 Stephen VI. 
891-896 Formosus. 
896-897 Stephen VII. 
897-898 Romanus. 
898-898 Theodorus II. 
898-900 John IX. 
900-903 Benedict IV. 
903-905 Leo V. 
905-911 Sergius III. 
g11-913 Anastasius III. 
913-914 Lando. 
914-928 John X. 
928-929 Leo VI. 
929-931 Stephen VIII. 
931-936 John XI. 


UP TO THE END OF THE SIXTEENTH CENTURY 


A. D. 
936-939 Leo VII. 
939-943 Stephen IX. 
943-946 Martin III. 
946- 956 Agapetus II. 
956- 964 John XII. 
964- 964 Leo VIII. 
964- 965 Benedict V. 
965- 972 John XIII. 
972- 974 Benedict VI. 
974- 975 Domnus II. 
976- 984 Benedict VII. 
984- 985 John XIV. 
986- 996 John XV. 
996- 999 Gregory V. 
999-1003 Sylvester IT. 

1003-1003 John XVII. 

1004-1009 John XVIII. 

1009-1012 Sergius IV. 

1012-1024 Benedict VIII. 

1024-1033 John XIX. 

1033-1044 Benedict IX. 

1045-1046 Gregory VI. 

1046-1047 Clement II. 

1048-1048 Damasus IT. 

1049-1054 St. Leo IX. 

1055-1057 Victor II. 

1057-1058 Stephen X. 

1058-1061 Nicholas II. 

1061-1073 Alexander II. 

1073-1085 St. Gregory VII. 

1086-1087 Victor III. 

1087-1099 Urban II. 

1099-1118 Paschal II. 

1118-1119 Gelasius II. 

1119-1124 Calixtus II. 

1124-1130 Honorius II. 

1130-1143 Innocent II. 

1143-1144 Celestine II. 

1144-1145 Lucius II. 

1145-1153 Eugenius III. 

1153-1154 Anastasius IV. 

1154-1159 Adrian IV. 

1159-1181 Alexander III. 

1181-1185 Lucius III. 

1185-1187 Urban III. 

1187-1187 Gregory VIII. 

1187-1191 Clement III. 

1191-1198 Celestine III. 

1198-1216 Innocent III. 

1216-1227 Honorius III. 

1227-1241 Gregory IX. 

1241-1241 Celestine IV. 

1243-1254 Innocent IV. 

1254-1261 Alexander IV. 

1261-1265 Urban IV. 

1265-1268 Clement IV. 

1271-1276 Gregory X. 

1276-1276 Innocent V. 

1276-1276 Adrian V. 

1276-1277 John XX. or XXI. 

1277-1280 Nicholas III. 

1281-1285 Martin IV. 

1285-1287 Honorius IV. 


159 


A. D. 
1288-1292 Nicholas IV. 
1294-1294 St. Peter Celestine 

V. (last Pope canonized). 
1294-1303 Boniface VIII. 


The following Popes sat at 
Avignon in France: 
1303-1304 Benedict XI. 
1305-1314 Clement V. 
1316-1334 John XXII. 
1334-1342 Benedict XII. 
1342-1352 Clement VI. 
1352-1362 Innocent VI. 
1362-1370 Urban V. 
1370-1378 Gregory XI. 


THE “GREAT ScHIsM”’ 
The following Popes sat at 
Rome while others sat at 
Avignon: 
1378-1389 Urban VI. 
1389 Boniface IX. 


Contemporary Popes at 
Avignon: 

1378-1394 Clement VII. 
1394-1398 Benedict XIII. 

In 1413 Benedict XIII was 
restored, but deposed in 1417 
when Clement VIII. was 
elected but not acknowledged. 


1389-1404 Boniface IX. At 
Rome. 
1404-1406 Innocent VII. 
1406-1409 Gregory XII. 
1409-1410 Alexander V. 
1410-1415 John XXIII. 
1417-1431 Martin V. 
1431-1447 Eugenius IV. 
1447-1455 Nicholas V. 
1455-1458 Calixtus ITI. 
1458-1464 Pius II. 
1464-1471 Paul II. 
1471-1484 Sixtus IV. 
1484-1492 Innocent VIII. 
1492-1503 Alexander VI. 
1503-1503 Pius III. 
1503-1513 Julius II. 
1513-1521 Leo X. 
1522-1523 Adrian VI. 
1523-1534 Clement VII. 
1534-1549 Paul III. 
1550-1555 Julius III. 
1555-1555 Marcellus II. 
1555-1559 Paul IV. 
1559-1565 Pius IV. 
1566-1572 St. Pius V. 
1572-1585 Gregory XIII. 
1585-1590 Sixtus V. 
1590-1590 Urban VII. 
1590-1591 Gregory XIV. 
1591-1591 Innocent IX. 
1592-1605 Clement VIII. 





babe GEV AN| THE SAINTS IN ART 


\ A CANES 
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ae 


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page 42). 
with 16th century costumes. 3) The Tiburtine Sibyl (see page 142), by Baldassare Peruzzi in the Fontegiusta Church at Siena. 
4) An example of the large polyptych altar-pieces which, in Italian gallery catalogues are called ‘‘Ancona.” 5) Elijah in the 
Desert; a drawing by Ferdinand Bol (1616-1680). (In the Collection of Mr. George Cotils.) 6) The Erithraan Sybil (see page 
142), by Michelangelo, in the Sistine Chapel. 7) Judith with the head of Holophernes; by Cristofano Allori (1577-1621) in 
the Pitti Palace. 8) Same subject as No. 3, by Roger van der Weyden, in Berlin. (See Plate XLII). 


Pee Peale OSTRATIONS 





ABRAHAM AND ISAAc, by Rembrandt, 162. 

ADAM AND Eve, expelled from the Garden 
of Eden, by Masaccio, 160. 

A.micuty, THE (See also “Trinity’’), 10, 31, 
32 


Ancona, 160. 

ANGELS, 52, 53, 54, 55. 

ANNUNCIATION, THE: 
By Niccolo di Alunno, 38; Herri met de 
Bles, 38; Lorenzo di Credi, 38; Melozzo da 
Forli, 38; Francia, 15; Italian School, 15th 
Century, 38; Fra Lippo Lippi, 38; Carlo 
Maratta, 38; Cosimo Rosselli, 38; Martin 
Schéngauer, 52. 

ARCHANGELS, THE (Together and Sepa- 
rately), 20, 52, 53. 

ASSUMPTION OF THE BLESSED VIRGIN, by 
Prudhon, 40. 


CALLING OF THE SONS OF ZEBEDEE, by Marco 
Basaiti, 143. 

Curist (Not as a Child). (See also “ Pietd,” 

Coronation, Last Judgment, Trinity, ‘Sta- 
bat Mater,” Last Supper, Crucifixion, 
“Noli me Tangere.” 
As Orpheus (Catacombs), 8; in ancient 
Mosaic, 8; with arms extended in form of 
the Cross (Fra Angelico), 18; bearing a 
“tau” Cross (on the Via Dolorosa), 18; 
with SS. Andrew and Longinus (Man- 
tegna), 20; in a transomed “‘mandorla,”’ 24; 
as “Referee” in a struggle between an 
angel and a devil for a man’s soul, 26; as 
Seraph, bestowing the Stigmata upon St. 
Francis (Giotto), 31; on early Byzantine 
coins, 34; receiving the Soul of his Mother, 
40; with the Blessed Virgin, both en- 
throned (Orcagna), 42; with the Four 
Evangelists (Fra Bartolommeo), 57; bap- 
tism of (Roger van der Weyden), 66; 
baptism of (Master of St. Severin), 66; 
baptism of (Joachim Patinir 141); leading 
the Magdalene to repentance (Paul 
Veronese), 71; presiding at the “ Disputa” 
(Raphael), 78; ‘Meditation on the 
Passion,” so-called, (Basaiti), 119; in- 
spires St. Thomas Aquinas, 121; descends 
into Hell (Mantegna), 158; disputing with 
the Doctors (Luini), 141; the same 
(Mazzolino), 141; in the Garden of 
Gethsemane (Correggio), 146; the same 
(Basaiti), 146; bound to the column (Le 
Sueur), 146; on the way to Calvary 
(Ridolfo Ghirlandajo), 146. 

CORONATION OF THE VIRGIN Mary: 

By Fra Angelico (Louvre), 42; Do. (San 
Marco), 117; Borgognone, 42; Niccolo di 
Buonaccorso, 50; Raflfaellino dei Carli, 20; 
Enguerrand Charonton, Frontispiece; 
Jacobello del Fiore, 55; Fra Lippo Lippi, 
42; Moretto da Brescia, 42; Pinturicchio, 
116; Raphael (with the 12 Apostles), 40; 
Lo Spagna, 42; Ant. Vivarini and Giovanni 
d’Alemagna, 10. 

Cross AND CrRucrFrx, VARIOUS FoRMS OF, 
18, 24. 

CRUCIFIXION (other than the “Stabat Mater’’): 
Fra Angelico, 118;.Gerard David, 146; 
Gerard van der Meire, 148; Antonella da 
Messina, 148; Mantegna, 148. 

CRUCIFIXION OF St. Putip (see Sf. Philip), 
148. 


DESCENT FROM THE Cross, by Sodoma, 148. 
DEVIL: 
Fighting for Soul of Dead Man, 26; for 
Soul of a Child, 35; for Souls of Humans 
(Triumph of Death, at Pisa), 112, 113. 
Docrors OF THE CHURCH, THE (as a group), 
74, 77, 78, 80. 
Draucut or FisHes, THE Mrracutous, by 
Raphael, 146. 





Ficce Homo, by Correggio, 146. 

Ecce Homo, “‘ Eucharistic,” so-called, 18. 

Ecypt, THe Fiicut Into, by Joachim Pati- 
nir, 139. 

Ecypt, THE Rest In (/] Reposo), by Andrea 
del Sarto (Madonna del Sacco), 139. 

ELIJAH IN THE DESERT, by F. Bol, 160. 

Bien THe Four (5 illustrations), 
DOS: 

ade Vision of (Raphael-Giulio Romano), 
ne 


FATHERS OF THE CHURCH (See Doctors of the 
Church). 

FEAST AT THE HOUSE oF Simon, by Paul 
Veronese, 143. 


Gop THE FATHER (See Almighty, The). 
Immaculate Conception (Murillo), 40. 


JAPANESE Gop, AmmpA, 24. 

Jesus Curist (See Christ). 

Joacuim DRIVEN FROM THE TEMPLE, by 
Quentin Matsys, 137. 

JupirH AND HOLopHERNES, by Cristofano 
Allori, 160; by Botticelli, 162. 


Kuanyin, Chinese Goddess, or “Chinese 
Madonna,” 12. 


Labarum, 8. 

Lams OF Gop, CurisT AS, 8. 

Last JUDGMENT: 
By Roger van der Weyden, 10; Jan Pre- 
vost, 20; Michelangelo, 61, 158; Fra An- 
gelico, 158; Lucas van Leyden, 158; Tinto- 
retto, 162. 

LAST SUPPER: 
By Domenico Ghirlandajo, 60; Leonardo 
da Vinci, 60; Dirk Bouts, 64. 


MADONNA AND CHILD: 
By Albertinelli (with St. Jerome), 74; 
Andrea del Sarto, 45, 114, 133, 139; Bacchi- 
acca, 51; Fra Bartolommeo, 45; Jacopo 
Bellini, 47; Boccaccino, 47; P. Bordone, 
80; Borgognone, 76; Botticelli (Magnificat), 
36; (with the two SS. John), 65; Botticini, 
45; (attributed to Filippino Lippi), 45; 
Byzantine, 12th Century, 44; Correggio 
(Mystic Marriage), 97; (Mater Pia), 51; 
(with St. Sebastian), 47; Lorenzo Costa, 
87; Lorenzo di Credi (with SS. Nicholas 
of Myra and Julian of Rimini), 90; Peter 
Cristus, 100; Crivelli (with instruments of 
the Passion), 45; (with Seven Saints), 76; 
Gerard David, 47; Duccio di Buoninsegna, 
47; Albert Diirer (“‘With the Monkey’’), 
47; Gentile da Fabriano, 47; Pier Francesco 
Fiorentino, 45; Francia (with SS. Augus- 
tine and Monica), 76; Agnolo Gaddi, 89; 
Giorgione (Castelfranco Madonna), 49; 
Giovanni d’Alemagna, and Ant. Vivarini, 
80; Ercole Roberti, 87; Guido da Siena, 43; 
Holbein (Madonna of the Meyer Family), 
13; Isenbrandt, 47; Fra Lippo Lippi, 45; 
Bernardino Luini, 117; Andrea Mantegna, 
73; Masaccio, 45; Master of the Holy Fam- 
ily (Heilige Sippe), 105; Mazzolino (with 
the Almighty), 10; Memlinc (Canon van 
der Paele Madonna), 17; 49; (Mystic Mar- 
riage), 97; Michelangelo (Statue), 51; 
Bartolommeo Montagna (with SS. Omo- 
buono and Francis), 111; Moretto (with 
the four Doctors), 74; (with St. Nicholas of 
Myra), 95; Marco d’Oggione (with St. 
Bernardino of Siena), 119; Pinturicchio, 
79; Pisanello (with SS. Anthony and 
George), 115; Procaccino, 45; Raphael 
(Madonna da Foligno), 116; (Madonna del 
Baldacchino), 78; (with the Blue Diadem), 
67; (Sistine Madonna), 51; Madonna del 
Pesce), 53; (Canigiani Madonna), 45; 


161 








(Belle Jardiniére), 45; Guido Reni, 112; 
Romanino, 88; Lorenzo da San Severino 
(Mystic Marriage of St. Catharine of 
Siena), 97; Girolamo da Santa Croce, 94; 
Luca Signorelli, 53; Andrea Solario (Vierge 
au Coussin Vert), 51; Cosimo Tura, 78; 
Jan Van Eyck, 51; Paul Veronese, 47; 
Vivarini, 49, 127. 

Mact, ADORATION OF: 
By Herri met de Bles, Frontispiece; 139; 
Jean de Mabuse, 48. 

MARRIAGE AT CANA, by Paul Veronese, 143. 
MASSACRE OF THE INNOCENTS, by Matteo di 
Giovanni, 139; by Peter Brueghel, 160. 

Mater Dolorosa, 36. 

Monk OF THE ORDER OF Mercy (Don 
Miguel del Pozo), by Zurbaran, 135. 

Mosss, by Michelangelo, 162. 


Nativity: by Guido Reni, 136; by Fra Lippo 
Lippi, 139; by Piero della Francesca, 139; 
by Yvette Howlett, 140; by Geertgen tot 
Sint-Jans, 140; by Jan Hemmelinck, 157. 

Niupus, 8 and passim. 

Nole me Tangere, by Lorenzo di Credi, 68; 
Titian, 68; Jacob Cornelisz, 72. 


PaRADISE, by Giovanni di Paolo, 158; by 
Hieronymus Bosch, 158. 
Pieta: 
By Giovanni Bellini, 10; Mantegna, 10; 
Lorenzo Monaco, 18; Perugino, 36. 
Pixcrims oF Emmaus, by Rembrandt, 158. 
Pore Honorrus III Conrirms THE RULE 
OF ST. Francis, by Domenico Ghirlandajo, 
WAL AE, IBS) 


RAISING OF 
Ouwater, 143. 
RESURRECTION, by Orcagna, 148. 


(Continued after ‘“Saints’’) 


Lazarus, by Albert van 


SAINTS: 


ADALBERT, OR ALBERT, OF VERCELLI, 133. 

AGNES, 26, 31, 104, 105, 106. 

AMBROSE, 78, 81, 82. 

ANDREW: 
His Cross, 10; by Masaccio, 20; Mantegna, 
20; German stained glass, 63. 

ANTHONY OF EGyPT: 
With St. Paul the Hermit, 114; with St. 
George, 115; Temptation of, 115; en- 
throned as Abbot, 117; with pig and bell, 
ie ; leading band of hermits (van Eyck), 
107; 

ANTHONY oF Papua, 123, 135. 

APOLLONIA, 111. 

AUGUSTINE (8 illustrations), 76, 78, 82, 125. 


BARBARA, 93, 96, 99, 100, 104. 
BARTHOLOMEW, 106. 
Benepicr, 121, 122. 
Benepict, DEATH oF, 123. 
BERNARD OF CLAIRVAUX, 124. 
BERNARDINO OF SIENA: 
With three mitres, 123; with tablet, IHS, 
123; with Madonna and Child, 129. 
Bruno, 124. 


CATHERINE OF ALEXANDRIA (25 illustra- 
tions), 24, 93, 96, 97, 98, 99. 

CATHERINE OF SIENA, 97, 121, 132, 133. 

Cecr1t1A, 16, 104, 105, 106. 

CHAD oF LICHFIELD, 121. 

CHRISTOPHER, 24, 90, 91, 92. 

CxarA (3 illustrations), 127, 135. 

Cosmo AND DamtAn, 89, 90, 93. 


DENIS, 27. 
Dominick, 26, 31, 123, 130, 131. 


EDWARD THE CONFESSOR, 133. 
ELISABETH OF Huncary, 22, 123, 135. 
Erasmus, 17, 110. 


PLATE XLVIUI THE SAINTS IN ART 


Sot cewese ee: 


| 





1) Michelangelo’s famous statue, the ‘‘ Moses”’ in S. Pietro-in-Vinicole, Rome. 2) ‘Samson and Delilah:” a characteristic 
pen-drawing by Van Dyck, even to the faulty drawing of Delilah’s arm. (Jn the Collection of the Author.) 3) Preliminary 
drawing, in wash, by Tintoretto, for his celebrated ‘‘Last Judgment,” in the Madonna dell’Orto Church in Venice. The curious 
figures whose limbs are turning into trees, are the suicides, following the “Inferno” by Dante. (J the Collection of the 
Author.) 4) Botticelli’s “Judith and Holophernes” in the Uffizi Gallery. 5) ‘‘Abraham and Isaac;’’ by Rembrandt, in the 
Munich Gallery. 


Francis OF Assisi, 31, 121, 123, 127, 129, 
1355135. 


GerorGE, 15, 17, 24, 86, 87, 93. 

GUALBERTO, JOHN, with His Brother’s Mur- 
derer, by Lorenzo di Niccolo, 26. 

GUALBERTO, JoHN, Watching His Follower, 
Peter Igneus, walk through fire, by Andrea 
del Sarto, 135. 

GUALBERTO, JOHN, in the habit of the Val- 
lombrosan Order, by Fra Angelico, 135. 

GREGORY THE GREAT,/9. 
Mass of St. Gregory, 80; Miracle of the 
Brandeum, 80; appearing to St. Fina on 
her deathbed, 80. 


HELENA, THE VISION oF, 128. 

HELENA DISCOVERS THE ‘‘TRUE’’ Cross, 
133. 

HuBeErtT oF Li&kGE, AS ABsor, 24. 


James Mayor, 62. 

Jerome (10 illustrations), 74, 75, 78, 118. 

JOHN THE Baptist (15 illustrations), 65, 67, 
68, 69, 125, 126. 

Joun CuHrysostoM, 84. 

JoHN THE EVANGELIST, 57, 63. 

Joun or Gop (St. Juan de Dios), 133. 

Justina oF ANTIOcH, 30. 


LAWRENCE, 93. 
Lorenzo GIUSTINIANI, 126... 
Lucy or Lucta, 104, 105, 108, 111. 


MarGareEt oF ANTIOCH, 96, 103. 

Mary or Ecyprt (Hermit), 117. 

Mary Macpatene™ (16 illustrations), 68-73. 
MarrtTHew, 63. 

MAauvRIcE, OF THE THEBAN LEGION, 111. 





MICHAEL, THE ARCHANGEL: 
By Roger van der Weyden, 10; Memlinc, 
53; Perugino, 52; Greek mosaic, 53. 
Monica, 125, 127. 
NICHOLAS OF Myra, or Bart, 90, 93, 95. 
NIcHOLAS OF TOLENTINO, 18, 125. 


Onorrio, Hermit, 119. 


Patrick: As Primate of Ireland, 120; as 
Pilgrim to Tara, 120. 

PAUL THE APOSTLE (3 illustrations), 61, 63. 

PAuL THE Hermit (2 illustrations), 114. 

PETER, 63. 

PETER Martyr, 127, 131, 132. 

PETRONIUS, 26. 

PHILIP, CRUCIFIXION oF, 148. 

Roca, 88, 90. 

RopriGcuEz, 130. 

RoMUALDO, 122. 

SEBASTIAN (7 illustrations), 53, 87, 88. 

SHEPHERDS, ADORATION OF, by Pietro di 
Domenico, 141. 

SIGISMOND OF BuRGUNDY, 127. 

SIMON ZELOTES, 59. 

STEPHEN (2 illustrations), 111. 

SYLVESTER, 24. 

THomas Agutnas, 121, 131. 


Ursuta, 101, 102. 
Wares are 
WENCESLAS OF BoHemtA, 127. 


SAMSON AND DELILAH, by Van Dyck, 162. 
“Stabat Mater,” by Martin Schéngauer, 14. 





SyBiLs, THe: The Tiburtine Sybil, by Lucas 
van Leyden, 141; by Baldassare Peruzzi, 
160; by Roger van der Weyden, 160; the 
Erithrean Sybil, by Michelangelo, 160. 

SYMBOLS, EARLY CHRISTIAN, 8. 


THREE WISE MEN (See Magi). 

TRANSFIGURATION, THE, by Giovanni Bel- 
lini, 146. 

TRINITY, THE Hoty (10 illustrations), 31, 33, 
42, 57, 68, 148. 

‘““TrIuMPH OF DEATH,” in Pisa, 112, 113. 

“TRUE Cross,” INVENTION OF, OR FINDING 
OneZON iso: 


VIRGIN, BiRTH OF THE, by Domenico Gher- 
landajo, 137. 

VIRGIN, EDUCATION OF THE, by Murillo, 137; 
16th Century Stone Statue, 137. 

VirGIN, MARRIAGE OF THE, by a 15th Cen- 
se Burgundian Master, 137; by Raphael, 

39. 

VIRGIN, PRESENTATION OF, by Titian, 137; 
by the Master of the Lyversberg Passion, 
137; by some 14th Century Florentine, 138. 

VircIn Mary, THE, WITHOUT THE CBHIID: 
(See also Coronation, Annunciation, As- 
sumption, Immaculate Conception, Staba 
Mater, Mater Dolorosa, Picté). 

As Second Eve, 23; as Queen of Heaven, 
35; with the Maccabean martyrs, 36; 
Reading Madonna from Van Eyck’s ‘‘ Ad- 
oration of the Lamb,” 36; Virgin of San 
Venango, 36; Death of, 40, 158; enthroned 
with Christ, 42;as Our Lady of Mercy, 101. 

VIRGINS OF THE LATIN CHURCH, THE Four 

GREAT (Together), 104. 






Wahoos CONSULTED IN THE PREPARATION OF THIS BOOK 


every Sainte’s festivity; by a Catholic Priest (John Wilson), 
12 mo. Permissu Superiorum, Anno 1608. 


ERRATA AND ADDENDA 


TABLE OF CONTENTS. Add “List of Works Consulted in 
the Preparation of this Book,” page 163. 

PLATE I, Pace 8, Caption. End of Second Line:—For “Ma- 
saccios” read ‘‘Masaccio.” 

PAGE 16. Caption:—For “Peter,” read “Augustine.” A study 
for this picture by Raphel shows the personage on the right 
of St. Cecilia with a mitre, which conclusively proves that he 
does not represent St. Peter, who wears the papal tiara if any 
head-dress. : 5 

PAGE 21. Top of First Column. There are exceptions to this 
rule, e. g., St. Erasmus, Bishop of Formia, on page 17. 

PLATE V, Pace 24, Fig. 7. Hand-printed note. For “Bishop’s” 
read ‘‘Abbot’s robes.” 2 

PAGE 36. Caption:—Before “Scourging” insert “The Crowning 

’ with Thorns,” 
PLATE XII, Pace 42, Fig. 5. Delete comma after “Andrea.” 
PLATE XVI, Pace 51. Caption. Sixth Line. For “Placentia” 
(Latin form) read “Piacenza” (Italian form). 
Fifth line: “Whence the name,” should read ‘Namesake of 
St. Sixtus—San Sisto, after whom the Church was named.” 

PLATE XXIV, Pace 74. Caption for Fig. 1. For “Crucifixion” 
read “Christ Crucified” (Christ en Croix). 

PLATE XXXI, Pace 96. End of Caption. Add (Courtesy of 
Wildenstein & Co.). 

PAGE 100. Second Column. For (Plate) read (Plate XVI). 

- INDEX GENERAL. Add, in their alphabetical position: 
Belle Jardiniére (see under MADONNA PictuRES). 
Sistine Madonna, 51 (see also MADONNA, SISTINE). 
INDEX OF SAINTS. St. Andrew, add “zo.” St. Lawrence, 
delete “20.” 
INDEX OF ARTISTS. Add Niccotd pi Buonaccorso, 50. 
Note also that Niccold da Foligno and Niccold d’Alunno 
were one person. euls 
INDEX OF ARTISTS. Add Prert, Grutro (see Romano, Giulio) 
Romano, Grutio, Giulio Pippi, called, 57. 
INDEX OF PRIVATE COLLECTORS AND DEALERS. 
Ehrich Galleries, add “Frontispiece” and 157. 
Platt, Dan Fellowes, Esq., add “43.” 
Wildenstein & Co., add “96.” 


ves of the most renowned Saints of England, Scotland, and 
[reland, by Rev. F. Jerome Porter. Douay, 1632. 

ages de tous les Saincts et Saintes de l’'annee, Les suivant le 
Martyrologie Romaine, faictes par Jacques Callot et mises 
2n Iumiere par Israel Henriot, Paris, 1636, 4to. 

e Lives of Saints compiled from authentic records of 
Church History. 4 vols., 4to. 1720. 

age der Heiligen. I. von Radowitz, 8 vo. Berlin, 
1834. 

gende der Heiligen auf jeden Tag des Jabres nebst der An- 
vendung auf die Glaubens-und Sittenlebre. Plates, 4 vols. 
gto. Augsburg, 1836. 

2 Attribute der Heiligen, 8 vo. Hanover, 1843. 

stoire de la Vie des Saints des Péres et des Martyres, d’aprés 
Godescard, Croiset, les Bollandistes, etc. Publiée sous les 
vuspices du Clergé de France; ornée de plus de 400 Gravures, 
1 vols., royal 8 vo. Paris, 1845. 

Rational Illustration of the Book of Common Prayer of 
che Church of England, by the Rev. Chas. Wheatly, M. A. 
Reprinted. Oxford, 1846. 

ly Men of Old; being sort notices of such as are named in 
she Calendar of the English Church, 18 mo., 1849. Ele- 
mentary. 

2 Himmelsrosen. Fine Galerie der Heiligen der Romisch 
<atholischen Kirche mit deren Leben und Werke nebst 
edesmaligem Schlussgebete, Band 1, 2. Wien, 1849. 
»mentary History of Art, by N. d’Anvers. Scribner and 
Welford, New York, 1889. 

scbichte der Maleret, von Dr. Adolph Gorling. E. A. 
seeman, Leipzig, 1866. 

ort History of Art, by Julia B. de Forest. Dodd, Mead & 
co., New York, 1881. 

story of Italian Painting, by Crowe and Cavalcaselle. 

cred Symbols in Art, by Elisabeth E. Goldsmith. G. P. 
>utnam’s Sons, Knickerbocker Press, New York and 
_ondon, 1912. 

e Saints in Art, by Margaret E. Tabor, E. P. Dutton & Co., 
79 Fifth Avenue, New York. 

well as the Holy Bible; the Encyclopedia Britannica (11th 
sdition); and numerous other books on art, religion and 
ustory. 


PLATE XLVIII THE SAINTS IN ART 


Ai 
Na 


1) Michelangelo’s famous statue, the ‘‘ Moses”’ in S. Pietr 
pen-drawing by Van Dyck, even to the faulty drawing of L 
drawing, in wash, by Tintoretto, for his celebrated ‘“‘Last Juc 
figures whose limbs are turning into trees, are the suicid | 
Author.) 4) Botticelli’s “Judith and Holophernes” in the Uffizi Gallery. 5) **Abranami auu isaac, 
Munich Gallery. 


a wh 





FRANCIS OF ASSIST, 
USS 30. 


GeorcE, 15, 17, 24, 86, 87, 93. 

GUALBERTO, JOHN, with His Brother’s Mur- 
derer, by Lorenzo di Niccolo, 26. 

GUALBERTO, JOHN, Watching His Follower, 
Peter Igneus, walk through fire, by Andrea 
del Sarto, 135. 

GUALBERTO, JOHN, in the habit of the Val- 
lombrosan Order, by Fra Angelico, 135. 

GREGORY THE GREAT,79. 
Mass of St. Gregory, 80; Miracle of the 
Brandeum, 80; appearing to St. Fina on 
her deathbed, 80. 


HELENA, THE VISION oF, 128. 

HELENA DISCOVERS THE ‘‘TRUE”’ 
133. 

HusBert or Li&kce, as ABgort, 24. 


Streiegi 23.127, 129; 


Cross, 


James Mayor, 62. 

JEROME (10 illustrations), 74, 75, 78, 118. 

JOHN THE Baptist (15 illustrations), 65, 67, 
68, 69, 125, 126. 

Joun CHRYSOSTOM, 84. 

JOHN THE EVANGELIST, 57, 63. 

JoHN or Gop (St. Juan de Dios), 133. 

JusTINA oF AnrtiocH, 30. 


LAWRENCE, 93. 
LORENZO GIUSTINIANI, 1206. 
Lucy or Lucta, 104, 105, 108, 111. 


MARGARET OF ANTIOCH, 96, 103. 

Mary or Ecypr (Hermit), 117. 

Mary Macpatene (16 illustrations), 68-73. 
MATTHEW, 63. 

MAuvRICE, OF THE THEBAN LeEGion, 111. 








MICHAEL, THE ARCHANGEL: 
By Roger van der Weyden, 10; Memlinc, 
53; Perugino, 52; Greek mosaic, 53. 
Monica, 125, 127. 
Nicuoras oF Myra, or Bart, 90, 93, 95. 
NiIcHoLAS OF TOLENTINO, 18, 125. 


ONoFRIO, Hermit, 119. 


Patrick: As Primate of Ireland, 120; as 
Pilgrim to Tara, 120. 

PauL THE APOSTLE (3 illustrations), 61, 63. 

PAUL THE Hermit (2 illustrations), 114. 

PETER, 63. 

PETER Martyr, 127, 131, 132. 

PETRONIUS, 26. 

PHILIP, CRUCIFIXION oF, 148. 

Roca, 88, 90. 

Ropricuez, 130. 

RoMUALDO, 122. 

SEBASTIAN (7 illustrations), 53, 87, 88. 

SHEPHERDS, ADORATION OF, by Pietro di 
Domenico, 141. 

SIGISMOND OF BuRGuUNDY, 127. 

Simon ZELOTES, 59. 

STEPHEN (2 illustrations), 111. 

SYLVESTER, 24. 

THomas Aguinas, 121, 131. 


Ursuta, 101, 102. 
Vitus, 127. 
WENCESLAS OF BouemtA, 127. 


SAMSON AND DELILAH, by Van Dyck, 162. 
“Stabat Mater,” by Martin Schéngauer, 14. 





SyBILS, THe: The Tiburtine Sybil, by Lucas 
van Leyden, 141; by Baldassare Peruzzi, 
160; by Roger van der Weyden, 160; the 
Erithrzan Sybil, by Michelangelo, 160. 

SYMBOLS, EARLY CHRISTIAN, 8. 


THREE WISE MEN (See Magi). 

TRANSFIGURATION, THE, by Giovanni Bel- 
lini, 146. 

TRINITY, THE Hoty (10 illustrations), 31, 33, 
42, 57, 68, 148. 

““TRIUMPH OF DEATH,” in Pisa, 112, 113. 

“TRUE Cross,” INVENTION OF, OR FINDING 
oF, 20, 135. 


VIRGIN, BIRTH OF THE, by Domenico Gher- 
landajo, 137. 

VIRGIN, EDUCATION OF THE, by Murillo, 137; 
16th ‘Century Stone Statue, 137. 

VIRGIN, MARRIAGE OF THE, by a 15th Cen- 
ay Burgundian Master, 137; by Raphael, 

VIRGIN, PRESENTATION OF, by Titian, 137; 
by the Master of the Lyversberg Passion, 
137; by some 14th Century Florentine, 138. 

VircIN Mary, THe, WITHOUT THE Curr: 
(See also Coronation, Annunciation, As- 
sumption, Immaculate Conception, Staba 
Mater, Mater Dolorosa, Pictd). 
As Second Eve, 23; as Queen of Heaven, 
35; with the ’Maccabean martyrs, 36: 
Reading Madonna from Van Eyck’s “Ade 
oration of the Lamb,” 36; Virgin of San 
Venango, 36; Death of, 40, 158; enthroned 
with Christ, 42;as Our Lady of Mercy, 101. 

VIRGINS OF THE LATIN CHURCH, THE Four 
GreEAT (Together), 104. 


WORKS CONSULTED IN THE PREPARATION OF THIS BOOK 





Iconographie Chrétienne, par M. Didron, Secrétaire du Comité 
Historique des Arts et Monuments, 4to. Paris:I[mprimerie 
Royale, 1843. 


Annals of Virgin Saints, by a Priest of the Church of England, 
12 mo., 1846. 


Legends of the Madonna, by Mrs. Jameson, 1860. 
Sacred and Legendary Art, by Mrs. Jameson, 2 vols., 1848. 


Legends of the Monastic Orders as represented in the Fine 
Arts, by Mrs. Jameson, 1850. 


Emblems of Saints by which they are distinguished in Works 
of Art; in two parts, by Rev. F. C. Husenbeth, 12 mo., 1850. 


Saints and Festivals of the Christian Church, by H. Pomeroy 
Brewster, Frederick A. Stokes Co., New York. 


Christian Symbolism, by Mrs. Henry Jenner (“Little 
Books on Art” series), A. C. McClurg & Co., Chicago, 1910. 


Legendary and Mythological Art, Handbook of, by Clara 
Erskine Clement, Riverside Press, 1874. 


Calendar and Prayer Book, illustrated. Anonymous; James 
Parker & Co., Oxford and London, 1870. 


Catholic Dictionary, by Addis and Arnold. Catholic Publica- 
tion Society, New York, 1884. 

“*The Golden Legend,” printed by Wynkin de Worde, from 
the Latin of Jacobus de Voragine, a work not only trans- 
lated into English, but also into French and German, and 
anciently held in such high estimation as to be commonly 
read in churches. James de Voragine (so called from the 
place of his birth in the state of Genoa), a celebrated 
Dominican friar in the thirteenth century, was born about 
1230, and became provincial of his Order and Archbishop 
of Genoa. His best-known work was the above-mentioned 
collection of the legends of the saints, called Legenda 
Aurea. The first of many early editions was printed at 
Bologna, 1470, fol.; an Italian translation was printed at 
Venice, in 1476, fol.; .; and a French one by Batallier, at 
Lyons, i in the same year, fol. There is also a modern edition; 
Jacobi a Voragine Legenda Aurea, vulgo historia Lom- 
po dicta; recensuit Dr. T. Graesse; 8 vo., Dresden, 
1846 

The English Martyrologe conteyning a summary of the lives 
of the glorious and renowned Saintes of the three Kingdoms, 
England, Scotland, and Ireland, collected and distributed 
into monthes after the forme of a Calendar according to 


163 


every Sainte’s festivity; by a Catholic Priest (John Wilson), 
12 mo. Permissu Superiorum, Anno 1608. 

Lives of the most renowned Saints of England, Scotland, and 
Ireland, by Rev. F. Jerome Porter. Douay, 1632. 

Images de tous les Saincts et Saintes de l’annee, Les suivant le 
Martyrologie Romaine, faictes par Jacques Callot et mises 
en Jumiere par Israel Henriot, Paris, 1636, 4to. 

The Lives of Saints compiled from authentic records of 
Church History. 4 vols., 4to. 1729. 

AE der Heiligen. I. von Radowitz, 8 vo. 
1834. 

Legende der Heiligen auf jeden Tag des Jabres nebst der An- 
wendung auf die Glaubens-und Sittenlebre. Plates, 4 vols. 
4to. Augsburg, 1836. 

Die Attribute der Heiligen, 8 vo. Hanover, 1843. 

Histoire de la Vie des Saints des Péres et des Martyres, d’aprés 
Godescard, Croiset, les Bollandistes, etc. Publiée sous les 
auspices du Clergé de France; ornée de plus de 400 Gravures, 
4 vols., royal 8 vo. Paris, 1845. 

A Rational Illustration of the Book of Common Prayer of 
the Church of England, by the Rev. Chas. Wheatly, M. A. 
Reprinted. Oxford, 1846. 

Holy Men of Old; being sort notices of such as are named in 
the Calendar of the English Church, 18 mo., 1849. Ele- 
mentary. 

Die Himmelsrosen. Fine Galerie der Heiligen der Romisch 
Katholischen Kirche mit deren Leben und Werke nebst 
jedesmaligem Schlussgebete, Band 1, 2. Wien, 1849. 

Elementary History of Art, by N. d’Anvers. Scribner and 
Welford, New York, 1889. 

Geschichte der Malerei, von Dr. E. A. 
Seeman, Leipzig, 1866. 

Short History of Art, by Julia B. de Forest. Dodd, Mead & 
Co., New York, 1881. 

History of Italian Painting, by Crowe and Cavalcaselle. 

Sacred Symbols in Art, by Elisabeth E. Goldsmith. G. P. 
Putnam’s Sons, Knickerbocker Press, New York and 
London, 1912. 

The Saints in Art, by Margaret E. Tabor, E. P. Dutton & Co., 
679 Fifth Avenue, New York. 

As well as the Holy Bible; the Encyclopedia Britannica (11th 
edition); and numerous other books on art, religion and 
history. 


Berlin, 


Adolph Gorling. 









GENERAL INDEX; 





NoTE: The figures in Italics indicate pages on 
which the subject is ILLUSTRATED. 

The Capital and Small Letters refer to Corre- 

sponding Sections in the Tables on Pages 145-152. 

All Attributes and Symbols are listed on Pages 

153-157, in addition to descriptions in Chapter III, 


and passing mentions throughout the book, in- 
dicated in the GENERAL INDEX. 








GENERAL 
INDEX 


AARON, 29, 31, 46 

ABBESS, ST. CLARA AS, 135 

ABBESSES, THE ENGLISH, 122 

ABBEYS IN ENGLAND, FAMOUS 
OLD, (SEE BENEDICTINE, 118) 

ABENDMAHL=LAST SUPPER 
(German) 

ABESHAG, 46 

ABRAHAM, 9, 52, 136, 142, 162 

ADAM AND EVE, 142, 160 

“ADORATION OF THE LAMB” 
(GHENT), 35, 36, 55, 104, 113, 117 

ADORATION OF THE MAGI, 
Frontisniece, 15, 34, 48, 55,111, 138, 130 

Ans ge OF THE SHEPHERDS, 


AIX! Th “CHAPELLE, COUNCIL OF, 


119 

ALFONSO II OF ESTE-FERRARA,. 30 

ALMIGHTY <THE, i, fost 125 122, 
Pee Uh ehh CHaprer IV. passim (pp. 
32-34), (SEE ALSO. ILLUSTRATIONS, 
List) OF); 36,0395 Ales 3575, 004 nO, 
70, 83, IOI, 141 

AMETHYST, 32 

ANACHRONISMS, 75 

ANANIAS OF DAMASCUS, 62 

ANARGYRES (See SS. COSMO AND 
DAMIAN) 

“ANATOMY LESSON” (Rembrandt), 


10 

ANCHOR, 8, 19, 84 

ANCHORITES, 172 

ANCONA, 27, 160 

“ANGELIC DOCTOR,” 16, 75, 134 

ANGELS, 00 2Ose Sis 33550) Rolin ele 
47, 55; 58, 10, fi, 78, 19, 00, 107, 212, 
T13e 123) 1305 O. 250, LOON TOs 

ANNUNCIATION 15, 16, 23, 27, 29, 
34, 37, 38, (SEE List or ILLUSTRA- 
TIONS), 39, 46, 48, 52, 138, 142, 
(SYBILS) 

ANNUNCIATION TO JOACHIM, 
(See JOACHIM AND ANNA) 

APOCALYPSE, 27, 30, 41 

APOCALYPSE, WOMAN OF THE, 41 

APOCALYPTIC LAMB, 27 

APOSTLES, 7, ro, 11, 19, 20, 23, 25, 4o, 
42, 43, 46, CHapTerR VII, pp. 56-64 
(SEE ALSO List or ILLUSTRATIONS), 
65, 69, 106, 115, 776, 125, By 152 

APOSTLES’ CREED, 58, 60 

APOTHECARY SAINTS (Sze SS. 
COSMO AND DAMIAN) 

APPLE, 19, 29, 46 

ARCHBISHOP, 76, 82 

AREOPAGITE, ST. DIONYSIUS 
THE (See DIONYSIUS) 

AREOPAGUS, COUNCIL OF THE, 48 

ARIANS, 77 

ARIUS, 95 

ARISTOTLE, 16 

ARK, 29 

ARMIOR, 16, 17 

ARROWS, 15, 80, 84 (See SS. UR- 
SULA AND SEBASTIAN) 

ARTHUSIA, THE LADY, 85 

ASCENSION, 61 

ASCETICISM, (See MONASTICISM) 


114 
ASPERGILL (See ST. ANTHONY 
ASS (See NATIVITY), 29 





OF EGYPT) 














ATTRIBUTES, CuHapter II, and 
passim, PAGES 145-161 

AUGUSTINIAN HERMITS, 1177 

AUGUSTINIANS, ORDER OF, 17, 
18, 77, 83, 116-120, 125-130 

AUREOLE (See NIMBUS) 

AUSTIN CANONS (See AUGUS- 
TINIAN) 

AVE MARIA PLENA GRACIA, 52 


AVERROES, 121 
AXE, 19 


BAGHDAD, CALIPH OF, 95 

BAGS OF GOLD, aes 03-05 

BALLS, THREE, 9 

BAMBINO—CHILD *CHRIST 

BANNER, 19 

BAPTISM OF CHRIST widens cymeeos 
32, 54, 66, 67, 140, rar 

BARI (See ST. NICHOLAS OF MYRA) 

BASIL, EMPEROR OF BYZANTIUM, 
32 


BATHSHEBA, 46 

BEATRICE DEI PORTINARI, 72 

“BEASTS,” THE FOUR (OF DHE 
EVANGELISTS), 56-64, passim 

BEEHIVE, 75, 78 

BELL-TOWER, 19, 26 

BENEDICTINES, 18, 19, 51, 85, 114- 
125 (ILLUSTRATED) 

BERENSON, BERNHARD, Critic, 74 

BERTHOLD THE CRUSADER, 134 

BIRDS, 46, 69 

BISHOPS, 25, 53, 01, 74,7 

BISHOP, GREEK, ides 
BISHOP) 

BISHOP OF CENEDA, 43 

BLACK ROBES, (SEE PAGES 114-136, 
149, 150) 

BLACK COLOR, 32 

BLACK LEG, oo 

BLACK FRIARS, 134 

BONES, HUMAN, CARRYING (See 
ST. AMBROSBE), 75 

BOOK (or epee 15; 19; 46, 56 
eb seq; 1115153: 

phan Bevis, MIRACLE OF THE, 
0, 84 

BREAST, FEMALE, SEVERED, 104 
(See ST. AGATHA) 

“BROTHER OF OUR LORD,” 59 

BUDDHIST MONKS, 114 

BUILDER’S SQUARE, 59 

BULL, 85 

BURIAL OF OUR LORD (See 
CHRIST N37 

BYZANTINE (DIVERS), 12, 26, 63, 75 

BYZANTINE COINS, 34 

BYZANTINE cease (12TH 
CENTURY), 4 

BYZANTIUM, ir 32, 84 


rune ST., CATACOMBS OF, 
8, 11540, 
CALVARY, THE ROAD TO, 36 
CAMALDOLESI, ORDER OF THE, 
r18, 119, 122, 124 
CAMEL-HAIR TUNIC, 65-73 passim 
CANA, MARRIAGE AT, 14. 140, 143 
CANDELABRUM, CANDLESTICK, 
7-BRANCHED, 19, 53, 57 
CANONS, 
(See REGULAR——) 
(See MINOR——) 
CAPUA, MOSAICS AT, 33 
CARBUNCLES (See RUBIES) 
CARDINAL, 7, 74, 75, 77, 78 
CARMELITE ORDER, 42, 118, 119, 
120, 127, 134: BAREFOOTED 
CARMELITES, 134 


GREEK 


INDEX OF SAINTS; 














CARTHUSIAN ORDER, 7, 9, 100, 
118-124, 125. 

CATACOMBS, 8, 9, 11, 28, 103 

CATHEDRAL BUILDERS, 118 (See 
AUGUSTINIAN CANONS) 

CATHEDRALS, FAMOUS, 
(See BENEDICTINES) 
(See AUGUSTINIANS) 

CATHERINE, ST., MYSTIC MAR- 
RIAGE OF, 47, 06, 97, 08 

CAULDRON, 36, 56 

CAXTON, 119 

CEDAR OF LEBANON, 46, 47 

CELIBACY OF CLERGY, 83 


118-120, 


CENACOLA=LAST “SUPPER 
(Italian) 

CENE, *LA=LA ST SUPP RR 
(French) 

CENOBITES, 113, 114, 126 

CENTAUR, 113 


aibens HOUSES OF ORDERS, 

12 

CHARLEMAGNE, 42 

CHASSE DE STE. URSULE, 95 

CHASUBLE, 130 

CHERUB, 19, 37, 41, 43, 48-55, passim 

CHILD CHRIST, 24, 30, 39, 46 

CHILDREN, THREE, IN VAT, 90, 95 

CHRIST, passim, 7-148 (See also Bap- 
TIsM and [1st OF ILLUSTRATIONS.) 

CHRIST, LIFE OF, SCENES FROM 
THE, AND THE wa 140 (a— 
hh), 741, 143, 146, 1 

CHRISTIANS: Wats. B69) U1 

CHURCH (MODEL), 19 

CHURCHES, FAMOUS, 118-120 

CHURCHES, THE SEVEN, OF 
ASIA MINOR, 56 

CIRCLE, 30; 34, 53, 57 

CISTERCIAN ORDER, 1178-124, 125 

CLEOPHAS, 62 (See MARY CLEO- 
PHAS) 

CLOSED GATE, 46 

CLUB, FULLER’S, 59 

CLUNIACS, 124 

COLORS, SYMBOLISM OF, 30 

COLUMBUS, CHRISTOPHER, 132 

CONON, PRINCE, 101, 102 

CONQUISTADOR, EL, ARMS OF 
ee also ST. JAMES MAJOR) 130, 


CONSTANTIA, EMPRESS, 84 

CONSTANTINE, EMPEROR, Le 
DLS 325.0% 89, 95, 106, 128 

CONTI, SIGISMONDO, 115, 116 

CONTRACT FOR A “ CORONA- 
TION” 7,9 

COPE, BISHOP’S, 17, 61, 82, 83, 04 

CORONATION OF THE VIRGIN, 
FRONTISPIECE, 7, 10, 14, 20, 22, 
23, 28, 29, 32, 34, 35, 40, 41, 42, 43, 
46, 50, 55, 58, 77, 104, 115, 116, 117 

“CORONATION,” CONTRACT FOR 
A (See CONTRACT) 

CORONET OR CROWN ON MITRE, 


118 
COUNCIL OF ATIX-LA-CHAPELLE, 
119 


COUNCIL OF EPHESUS, 13 


COUNCIL OF NICE, 95 

CRESCENT, MOON’S, 4o, 41 

CROSS, passim, 7-155. (SEE ALSO LIST 
OF ILLUSTRATIONS) 

CROSS, ST. ANDREW’S, 18, 20, 21, 59 

CROSS, GREEK, 17, 18, 20, 21, 56, 
102 

CROSS, LATIN, 78, 19, 20, 21 

CROSS, MALTESE, 28, 56 

CROSS, OUR LORD UPON THE, 23 

CROSS, PAPAL, 18 

CROSS, PATRIARCHAL, 18 

CROSS POTENT, 78, 21 

CROSS, REED, 23, 66, 67, 68 

CROSS, RUSSIAN, r+ 

CROSS, TAU, 78, 21, 59, 6r, 112 

CROSS, THE “TRUE 19, 205 ren 
(VISION OF ST. HELENA); 133 

CROSS WITH 5 RUBIES, 17 

CROSS, X-SHAPED (See CROSS, 
ST. ANDREW’S) 

CROSSE POMME, 18 

CROWN, 22, 26, 29, 35 

CROWN OF FLOWERS, or FRUIT, 


22 
CROWN OF MARTYRDOM, 37, 53, 
86-110 passim 
CROWN OF THORNS, 22, 23 
CROWN, TRIPLE, (See POPE) 
CROZIER, BISHOP’S or ABBOT’S, 
22 


164 


INDEX“ OF SAK Wot 
QUOTED; INDEX OF MUSEUMS AND GALLERIES MENTIONED; 
INDEX OF ECCLESIASTICAL, BULEDINGS= CONTA ii 
PICTURES NAMED; INDEX OF PRIVATE. COLEEGTORS#a= 
DEALERS MENTIONED; WORKS CONSULTED; AND ERRAA 














CRUCIFEXS 78) 19529) 23n 33h 13 

CRUCIFIX ENTWINED WITH 
LILIES, 78 

CRUCIFIXION (See also PASSION), 
14, 15, 21, 36, 37, 49, 56, 62, 70, 74, 
116. 118, 146, 148 

CRUSADES, 22, 102, 134 


DALMATIC, 108, rrz 

DANIEL, 46, 58 

DANTE ALIGHIERI, 72 

DAVID, KING, 31, 42, 46 

“DEAD eee THE” (MAn- 
TEGNA), I0, 

DECADANCE IN ART, MEANING 

3 

DECIUS, EMPEROR, 107 

DET OF 

DEMON (See DEVIL.) 

DE MORIBUS CLERICORUM, 126 

DESCENT FROM THE CROSS, 36, 


37, 120 

DE TRINITATE, 76, 77, 83 

DEVIL, 26, 35, 85, 91, 103 TIT 

DEVOTIONAL PICTURES (See 
CHAPTER II and passim) 

DIAMOND, 30 

DIANA, 13 

DIOCLETIAN, EMPEROR, 25, 63, 
88, 89, 107, 108 

NEE THE AREOPAGITE, 

“DISPUTA” (RAPHAEL), 78 

DOCTOR OF GRACE, 76, 83, 125 (See 
also ST. AUGUSTINE) 

DOCTOR MELLIFLUUS (ST. BER- 
NARD), 125 

DOCTORS OF THE CHURCH, 10, 
11, 57, 61, 73-86, 126 

DOCTORS, "THE HEBREW, 56, 79 

DOLPHINS, 23, 25 

DOM or DON, 119 

DOMINICAN ORDER, 14, 22, 30, 43, 
15, 07,08, F10, 117, LT6-130 

DOMINICK, ST., THIRD ORDER 


OF, 98 

sae 22 13; 07, 29). 28; 430 ise 0G, 
Il 

DOVE, Cuapter IV passim (See List 
of Illustrations.) See HOLY 
GHOST), 23, 38, 39, 46, 67, 70, 84 

DOVES, SEVEN, 34 

DOVES, TWELVE, 58 

DRAGON, 23, 24, 25, 85, 93, ro3 

DUKE FEDERIGO DA MONTE- 
FELTRE OF URBINO, 64 

DUNS SCOTUS, 41 

DURANDUS, 58 


EAGLE, oe 56-64 eee 77, 78, 82 

EARLIEST SYMBOLS IN 
CHRISTIAN ART, 23 

EAR OF WHEAT, 25, 30, 46 

ECCE AGNUS DEI, 27, 67 

ECCE HOMO, 36 

yr Pane ‘RU CHAR IST IG?” 
0, 18 

EGLINTON, GUY, Critic, 7 

EGYPTIANS, BA i] 

EGYPT, FLIGHT INTO, 1309, 140 

—REST IN, 139, 140 

—RETURN FROM, 140 

ELIJAH, eae ee 160 

EMERALD 

eri SUPPER AT, 14, 98, 142, 


ENAMEL, 29 

ENCLOSED GARDEN, 46, 47 

ENTOMBMENT, 36 

EPISCOPAL ROBES (See BISHOP) 

ESSENES, 114 

ESTHER, 46 

ETHEREUS (See CONON, PRINCE) 

EUCHARIST, 25, 30, 62, 64, 84 

EUGENIUS, 28 

EVANGELISTS (See also each name), 
10, 27, 30, 31, 33, 43, 55, 56-64, 73, 
77, 80, 106. (See also List or ILtus- 
TRATIONS.) 

EVE, THE SECOND, 23, 35, 46 

EYES ON DISH (See ST. LUCIA) 

EZEKIEL, 46, 56, 57, 58 


FATHERS OF THE CHURCH (See 
DOCTORS) 

FISH, 8, 11. 19) 20, 23; 25,625034 

FISH: WHY USED’ AS SYMBOL 
FOR CHRIST, 11 


FLEUR DE LYS, 27 
See SS. LOUIS OF TOULOUSE 
LOUIS OF FRANCE 
CLOTILDA 
WILLIAM OF AQUITAINE 
FLOWERS, 25 
“FOUNTAIN SEALED,” 46, 47 
FRA, THE TITLE=F RIAR 
FRANCISCAN ORDER, 39, 41, 42 
67, 76, 98, 116-121, 123, 127-135 
FRATI =FRIARS 
FRUIT, 25 


GABRIEL, ARCHANGEL 
ARCHANGEL GABRIEL) 
GARTER, ORDER OF THE, 88 
GENEVIEVE OF BRABANT, 85 
GIDEON, 46 
SEVEN, 


(See 


GIFTS OF THE SPIRIT, 


LE 
LEATHER THONG (See AUGUS- 
TINIANS) 
ROPE, KNOTTED (See FRAN- 
CISCANS) 
GLASTONBURY ABBEY, 118 
GLORIA IN EXCELSIS, 46, 55 
GLORY, 24, 25, 26, 29 
(See AL- 


GOD THE FATHER 
MIGHTY) 

GOD THE SON, CwHaprTer IV passim. 
(See also List of Illustrations) 

GODEFROI DE BOUILLON, 88 

GOLD, 30 

GOLDEN LEGEND, 57 

GOSPEL, 25, 26, 53, 70, 71, 

GOTHIC CATHEDRA Bs 
CATHEDRALS) 

GRAPES, 25, 47 

GREAT SCHISM, THE, 134, 158 

GREEK BISHOP, 21, 75, 85 

GREEK CHURCH, 75 

GREEN, 30 

GREGORIAN CALENDAR, 83 

GREGORIAN CHANTS, 83 

GREGORY, ST.; MASS OF, 26, 80, 84 

—HOMILIES OF, 84 

—SUPPER OF, 84 

—BRANDEUM, MIRACLE OF, 84 

GREGORY II. 11, 12 

GREGORY VII, POPE, 59 

GREY, 32 

GRIDIRON, 617 


(See 


HABIT, MONASTIC, 26, 76, 83, (See 
Under Name of Each Order, Pages 
122-136) 

HABIT, NUN’S, 07, 98, 118-136 

HALBERD, 59 

HAROUN-AL-RASCHID, 95 

eae ha SS. GILES, PROCOPIUS, 
ZoAN 2 

HEAD, 25, 27 

HEAD-DRESS, 75 

HEART CROWNED WITH THORNS, 


25 

HEART, FLAMING, 25 

HEAVEN, 59 

HELL, 9, 32, 59, 142 

HENRY IV., EMPEROR, 25, 128 

HERMITS, 70, 77, 85, 91, 06, 08, 112- 
II4, 17, IIQ 

HIND 

HOLY FAMILY, 44, 47, 65 

HOLY GHOST, "CHAPTER IV., passim, 
Io, 39, 41, 46, 66, 85 

HOLY ‘TRINITY (See TRINITY 
BOLE. 

HOMER 

HOMILIES (or St. GREGORY), 84 

HORUS, 13 

HYPATIA, 13 


2 enue PETER, Vallombrosan 

on 

THS= JES(US), 32, 34, 124 

ILIAD, 9 

IMMACULATE CONCEPTION, 27, 
30, 39, go, 41, 46, 48 

INFANT, 2 

INFANT CHRIST, 25, 44 

INFANT, NAKED, 26 

“IN HOC SIGNO VINCES,” 21 

ad Ore e MASSACRE OF THE, 
108, 16 

INQUISITION, ony 41 

NERS 23.432. 

ISABELLA, OULEN OF SPAIN, 132 

ISATAH, 46, 58 

ISIS, om 13 


JAMESON, MRS., 39, 75, 94, 99 

JAPANESE CHRISTIANS, 136 

JEREMIAH, 58 

JEROME, ST.. THE VISION OF, 79 

—THE TEMPTATION OF, 79 

—THE LAST COMMUNION OF, 81 

JERONYMITES, 53, 1728, 120 

JERUSALEM, 7, 46 

—ARMS OF, 18 

—FIRST KING OF, 88& 

JESUIT ORDER, 25, 128, 134 

JEWS, 29, 61 

ora ae ANNA, LEGEND 

62, 136 

JOSEPH OF ARIMATHEA, 118 

JUDAS ISCARIOT, 78, 19, 32, 59-64 
assim 

JUDITH, 46, 142, 160, 162 





JULIAN THE APOSTATE, 28, 75 
JUSTINIAN, EMPEROR, 11, 108 


KEY, 57, 59, 61, 62, 82, 85 

KINGS OF COLOGNE, THE THREE 
(See ADORATION OF THE MAGI) 

KNIFE. LARGE, 59, 61, 106 

KUAN-YIN, 12 

KWANNON, 12 


LABARUM, 8, 32 

LAMB, &, 9, 26, 27, 29, 65-69, 104, 
105, 106 

LAMP, 27 

LANCE, 15, 20, 40, 59 

LANTERN, 27 

LAST JUDGMENT, ro, 14, 20, 21, 
23, S053, 59,08 142, 050, 702 

LAST SUPPER, 56, 59, 60, 62, 64, 69, 


84, 120 
LATIN CHURCH, 7 
LATIN FATHERS mee DOCTORS 
OF THE CHURCH) 
LAZARUS, 69, 70, 72, 140. 143 
LEG, BLACK, 90 
LEGENDA AUREA, 57 
LEO THE ISAURIAN, BYZANTINE 
EMPEROR, 12, 34 
TG 5 152.53 520)02) 92, Go 40. O77 
LION, 27, 28, 53, 54-56 passim, 74, 
UBD th hy cere WIE 
LION OF JUDAH, 27 
LORD’S SUPPER 
SUPPER) : 
LUCREZIA BORGIA, 30 


MACCABEAN YOUTHS, 36, 37 

MADONNA, passim, 6-152. (See also 
List oF ILLUSTRATIONS and “VIR- 
GIN MARY.” See CHAPTERS II and 
V especially) 

MADONNA *ENTHRONED, ora LN: 
TRONO” (See MADONNA) 

MADONNA PICTURES, FAMOUS 
NAMED, (Text Mentions. (See 
also List oF ILLUSTRATIONS) 

MADONNA pet BALDACCHINO, 54 

—OF THE BLUE DIADEM, 43 

—oF THE CANEGIANI FAMILY, 45 

—or CANON VAN DER PAELE, 17 

—DEL CARDELLINO, 46, 69 

—DEL CARMINE, 134 

—OF CASTELFRANCO, 49 

—or CHANCELLOR ROLLIN, 17 

—OF THE COLONNA FAMILY, 43 

—OF THE ESTERHAZY FAMILY, 43 

—pa FOLIGNO, 115, 120 

—OF THE GREEN CUSHION, 34, 43 

—or THE MAISON D’ORLEANS, 43 

—oOF THE MEYER FAMILY, 48 

—DELLA MISERICORDIA, 101 

—wWITH THE MONKEY, 47 

—ORANS, 35 

DEL PESCEH, 53 

—RUCELLAI, 120 

—pDEL SACCO, 129 

—wiTH ST. SEBASTIAN, 47 

—SISTINE, 48, 85, 100 

—BELLE JARDINIERE, 43, 69 

MADRE _ SERAFICA, (See Sila 
CLARA, also ST. THERESA 

MAGDALENES, READING, 71, 73 

MAGI, or THREE KINGS, 111 (See 
ADORATION OF) 

MAGNIFICAT, 35, 36, 65 

MANDORLA, 24, 28, 29, 35 

MARTYRDOM (See also CROWN 
OF), 23, 26, 30, 56-62 passim, 86-111 
passim 

MARTYRS, 7, 101, 102, 108, 109, 152 
(See VIRGIN PATRONESSES; 
VIRGINS, THE FOUR GREAT) 

MARTYRS, GREEK, 103, 152 

MARY Sntne i 62, 70, 116, 178 

MARY SALOME, 7 70 

MASSACRE OF THe INNOCENTS, 
138, 730, 160 

MASSACRES OF THE CHRISTIANS, 
2 


ecire AMABILIS, 35, 43, 45, 46, 


67 
MATER DOLOROSA, 32, 35, 36, 37 
MATER PIA, 43, 45 
MATURINS, 130 
MAXENTIUS, VICTORY OVER, 21 
MAXIMIAN, EMPEROR, 25, 89, 98 
MEDICI, THE, 16, 89, 116 
MEDITATION ON THE PASSION 
(BASAITI), 79, 113, rro 
ae ORDERS, 
131-13. 
MESSIAH, 67 
MIGUEL DEL POZO, DOM, 135 
MINIMES, ORDER OF, 132 
MINOR CANONS, 118, 126 
MINORITES, 66, 67 
MINSTERS, FAMOUS, 120 
MIRROR, 46 
MISERICORDIA FRATERNITY, 73 
MISSIONARIES, CATHOLIC, 22 
MISSIONS ON AMERICAN CONTI- 
NENT, 132 
MESS OS) ES bat) 2s 
MITHRAISM AND MITHRAS, 28, 83 
MITRE, BISHOP’S, 17, 22, 61 
—CORONET a CROWN ON, 118 
—THREE, 12 
MODEL OF BOLOGNA (WITH 
CAMPANILE), 19, 26, 109, 112 
—OF A CHURCH, 19, 75, 106 
—OF A TOWER, 77, 93, 97, 99 


(See LAST 


119, 120, 


165 


MONASTERIES, FAMOUS, 118-120 

MONASTIC ESTABLISHMENTS, 72 

MONASTIC HABIT (See HABIT, 
MONASTIC) 

MONASTIC ORDERS, THE, 112-136, 
passim (SEE UNDER NAMES OF 
ORDERS) 

—SPLENDID WORK OF, 115 

—EFFECT OF, IN ARTS AND LIT- 
ERATURE, 115 

MONASTIC PICTURES, 23, 115-136 

fo FIVE CATEGORIES OF, 1175- 


MON ASTICISM, PRINCIPLES OF, 
112, 113, 114 

MONASTICISM, FATHER OF (See 
ST. ANTHONY OF EGYPT) 

MONASTICISM IN THE WEST, 
FATHER OF(ST. JEROME), 81, 113 

MONEY-BAG, 59, 

MONKS, 114-136 and throughout book 

MONOPHYSITES, 13 

MONTE Conse, er 

MOON, 10, 33, 40, 

MORELLI, SIOVANN: T (Art CRITIC), 


MOSAICS, 26, 36, 53, 54, 63 

MOSES, 9. 29, 46, 121, 142, 162 

“MOTHER AND CHILD” MOTIVE 
IN ART, 12 

MOTHER OF GOD, 13, 34 

MOUNT OF OLIVES, 9, 125 

MOUNT SINAI, 98, 99 

MUSIC & MINSTRELSY, PATRON- 
ESS OF, 46 

MYSTIC MARRIAGE OF ST. CATH- 
ERINE (See CATHERINE in Gen- 
eral Index) 


ot ee THE CRUCIFIXION), 
18, 19 


NARRATIVE PICTURES, Chapter 
Il and passim 
NATIVITY, Frontispiece, 15, 29, 32, 


46, 48, 136, 138, 130, 140, I4I 
NERO, EMPEROR, 108 
NESTORIANS, 39, 75 
NESTORIUS. 13 
NICENE CONFERENCE, 12. 95 
NICHOLAS, ST., SOCIETY OF NEW 

YORK, 94 
ae 8, 9, 23, 24, 27, 28, 29, 30, 


NOLL ME TANGERE, 68, 69, 72 

NUNS (See also Page 149), 97 

pee AN 118, 119, 126, 127, 
2 

—BENEDICTINE, 122 

—CARMELITE, 132 

—DOMINICAN, 121 

—FRANCISCAN (POOR CLARES), 
98, 127, 129, 132 

—OLIVETANS, 125 

—VALLOMBROSAN, 124 


(ECUMENICAL COUNCIL OF CON- 
STANCE, 89; OF NICE, 12, 95. 

OFFERO (See ST. CHRISTOPHER), 
91 


OLD TESTAMENT, 19, 46, rrz, 142 
(Picture Subjects) 

OLIVE, 29, 46 

OLIVETANS, 125 

ORATORIANS, 119, 125 

ORB, 25, 29, or 

ORGAN, 16, 103, 104, 105, 106 

ORMAZD, 28 

ORPHEUS, CHRIST AS, 8, 11 

OSSERVANTI, ORDER OF, 132 

OUR LADY OF MERCY, ORDER 
OF, 130, 156 (SHIELD) 

OX, 29, 56-64 passim, 77, 85 


PADLOCK, 130, 156 

PADRE SERAFICO (See ST. FRAN- 
CIS OF ASSIST) 

PAGAN GODS, 30, 54, 55 

PAGAN SYMBOLS, 8, 9 

PAGANISM, 46 

PALLIUM, 32, 76, 82, 126 

PALM, 26, 28, 29 

PALM TREE, 24, or, 92 

PAPAL ROBES (See POPE) 

Lye T1423. 50554. 1565057, 
142 

PASSION (See CHRIST, LIFE OF) 

PASSION, ACCESSORIES OF, 18, 19 
footnote, 22, 45, 84 

PASTORAL MADONNAS, 46 

PATRON SAINTS, 16, 17, 23, 25, 27, 
39,58, 86-111 passim, 133 and through - 
out the book. Almost all Saints are 
patrons. eee iesteatious: 

PAUL V, POP 

PEACOCK, tes 

PEACOCK’S FEATHER, 100 

PEAR, 29, 46 

PELICAN, 18, 29 

“PENANCE OF ST. JOHN CHR YSOS- 
TOM,” 85 

PENITENTS, THE BLESSED, 73, 
108, 152 

PEREZ, JUAN, 132 

PERSECUTORS OF CHRISTIANS, 


25 
PICO DELLA MIRANDOLA, 7 
PIBETA+S, 970, 76,019:°212529) 35536, 
ons ms 56 
PIG Sec ANTHONY OF EGYPT) 
PILGRIM’S STAFF, 59, 62 





PILGRIMS OF EMMAUS (See 
EMMAUS, SUPPER AT,) 
PLATO, 16 


POMEGRANATE, 29, 46 

POOR CLARE NUNS (See NUNS) 
POPE, 7, 9, 74, 75, 84 

POPE CELESTIN II, 34 

POPE FELIX, 7, 89 

POPE HONORIUS I, 106 

POPE HONORIUS III, 130 

POPE SYMMACHUS, 106 

POPE URBAN II (See ST. URBAN), 95 
POPES, CANONISED (See p. 159), 


77, 89 

PORTINARI ALTAR-PIECE, 72 

PREMONSTRATENSIANS, 128, 129 
132 

PRESENTATION IN THE TEMPLE 
(See VIRGIN, PRESENTATION 


OF) 

PRINTING PRESS, FIRST, IN 
ITALY, 119 

PRINTING PRESS, FIRST, IN 


ENGLAND, 119 
PROPHETS, 7, 43, 58 
PROTO-MARTYR, THE, ST. STE- 
PHEN, 108, rrz 
—THE ENGLISH, ST. ALBAN, 145 
PURGATORY, 9, 30 
PURPLE (See VIOLET) 37 
PURSE, 59 
PYX, 68, 69, 70, 71, 72, 73 


QUEEN OF HEAVEN (Regina Coeli 
Bop AS ee 


RAVEN, 113 

READING MAGDALENES 
MAGDALENES) 

RED, 30 

RED FRIARS, 130 

REGINA ANGELORUM (QUEEN 
OF ANGELS), 14, 35 

CENT: See (QUEEN OF HEA- 
VE 

REGINA VIRGIN UM (QUEEN OF 
VIRGINS), 35 

REGULAR CANONS, 119 

RELIQUARY (See ST. URSULA) 

RENAISSANCE ART, 25, 55 

RENAISSANCE GARDEN, 46 

RESURRECTION, 30, 32, 36, 53, 56, 
69, 115 

ROBE, BLUE VELVET, WITH 
FLEUR DE LYS, 22 

ROMANS, 9, 11 

ROSES, 30, 46, 55 

ROYAL SAINTS, 124, 125, 126, 133, 
G.a.O (See also SS. Louis oF FRANCE, 
Louis oF TOULOUSE, CLOTILDA, 
WILLIAM OF AQUITAINE) 

RUBY, 19, 30 

RUINED ABBEYS, FAMOUS (See 
ABBEYS) 

RUPERTUS, 58 

RUTH, 46 


SABINELLA, QUEEN, 06 

SACRA CONVERSAZIONE, 14 

SAINTS (See INDEX OF SAINTS) 

SAINTS, Ce er alae: OR “IN 
GLORY, 23°16;.26; 06 

SAINTS, CALENDAR’ OF, 88, 102, 108 

SALOME (See also MARY SA- 
LOME), 62 

SALUTATION OF ELISABETH, 67, 


SALVE REGINA, MATER MISERI- 
CORDIZ, 46 

SAMSON AND DELILAH, 142, 162 

SAN SISTO, MADONNA DA, 48, 51, 


85, 119 
SANCTA DEI GENETRIX, 44 
SANT ’IAGO (See ST. JAMES MAJOR) 
SAPPHIRE, 30 
SARCOPHAGUS, FIFTH CENTURY, 


20 
SATAN, 30 
SAUL OF TARSUS (See ST. PAUL) 
SAUL (See ST. PAUL), 108 
SAUL, KING, 31 
SAVONAROLA, 120 
SAW, 59 
SCOURGE, 75, 76, 77, 82 
SCOURGING, THE, 36 
SERAPH, 28, 37, 41, 43, 48-55 oe 


(See 


SERAPHIC DOCTOR (See 
BONAVENTURA) 

——FATHER (See ST. FRANCIS OF 
ASSIST) 


——MOTHER (See ST. CLARA) 
—ORDER (FRANCISCANS), 76 
SERPENT, 25, 29, 46 

SERPENT, BRAZEN, 29 
SERVITES, or SERVITI, 129 


SEVEN - BRANCHED CANDLE- 
STICK, 56, 57 

SEVEN CHURCHES, 19, 56 

SHELL, 29 

SHEEP, 29 


SIBYLS, THE, 141, 142, 160 

SIMON CALLED PETER (See 
ST. PETER) 

SIMON THE LEVITE, FEAST AT 
THE HOUSE OF, 69, 140, 143 

SIXTUS IV, POPE (Misprinted IX, on 
page 39), 39, 5r, 85. 162 

SKIN, OWN, IN HAND, 59, 61 

SK Vis 2970 8t, Soy Lh DLS 

SOLOMON, KING, 31 


SORROWS, THE SEVEN, 35, 36 
SOUL, 26, 27; 40,46, 53, 172, 773 
SPADE, 72 

SPEAR (See ee 

SQUARE, 30, 

STABAT MATER, TAS DA OD OU Lo7 


56 
STAG (See HART or HIND), 30 
STAR, 26, 30, 31, 128, 157 
—OF THE SEA (Stella Maris), 46 
—MORNING, 46 
—IMMOVABLE, 46 
— OF JACOB, 46 
STARS, THE SEVEN, 35, 57 
STIGMATA, 22, 37 
STONE or STONES, 74, 08, 111 
SUBIACO, 118, 119 
SUN, 10, 30, 33, 41, 46 
SWORD (See also ST. PAUL), 30, 
57, 60, 62, 63, 08, 144, 157 
SWORDS, SEVEN, 35 
SYLVIA, THE LADY, 83, 85 
SYMBOLS, (8), 9, CHAPTER III, and 
passim, TABLES pp. 157-161 


TAPER, 27 

TE DEUM, 77 

ber rpee nok (See THIRD ORDERS) 
2 


TETRAMORPH, 30, 37 

THEBAN LEGION, 82 

THEODORA, THE LADY, 89 

THEODOSIUS, EMPEROR, 8, 28, 77, 
78, 81, 85, 91 

THEOPHILUS THE MONK, 119 

THERAPEUTA, 114 

THIRD ORDERS: 

or ST. FRANCIS, 129 

or ST. DOMINICK, 129, 134 

THORNS, CROWN OF, 27 

TIARA, PAPAL (See POPES) 

TOBIAS, Ae SY: BE AGE 

TOLLE LEGE, 1% 

TONDO=CIRCULAR PICTURE, 35 

TOWER, WITH THREE WINDOWS. 
ST. BARBARA’S, 93, 96, 97, 99, r00, 


104 

TOWER OF DAVID, 46, 47 

TRAJAN, EMPEROR, So, 84 

TRES SAINTE DEMOISELLE PE- 
CHERESSE, LA, 70 

TRIANGLE, 30, 37, 32, 34 

TRINITARIANS, ORDER OF, 17, 
130 (See MATURINS, or RED 
FRIARS) 

TRINITY, THE “BUBENHOVEN,” 


33, 34 

TRINITY, HOLY, Frontispiece, 7, 9, 
12, 14, 17, 23, 25, 28, 30, 53, 08, 76, 
83, 99, r4z 

“TRIUMPH OF DEATH” (PISA), 
Tiers iS) 








UNICORN, 30 

URBINO, See DUKE, etc. 

URSULE, STE., CHASSE DE (See 
CHASSE) 


VALLOMBROSAN ORDER, 178, 119, 


124, 135 
VENANTIUS FORTUNATUS, 59 
VIOLET, 32, 37 
VIRGIN, ASSUMPTION OF, 30, 40, 
41, 48, 115, 118, 124, - 
aaa EL OF, 136, 13 
——CORONATION ‘OF (See CORO- 
NATION) 
—DEATH OF THE, 40, 142, 158 
——EDUCATION OF, 137 
——MARRIAGE OF, 137, 138, 1390 
—PRESENTATION OF, 15, 136, 


137, 138 

VIRGIN MARY (See also MADONNA; 
VIRGIN; IMMACULATE CON- 
CEPTION; PIEDA a SLA BAL 
MATER; MATER DOLOROSA) 

VIRGIN OF SAN VENANZIO, 36 

VIRGIN MARTYRS (See VIRGIN 
PATRONESSES, VIRGINS OF 
THE LATIN CHURCH, MAR- 
TYRS, GREEK 

VIRGIN PATRONESSES, THE, 86, 


95-105 

VIRGINS, ELEVEN THOUSAND, 
IOI, 102 

VIRGINS OF THE LATIN CHURCH, 
THE FOUR GREAT, 86, 99, 103-109 

VIRGO GLORIOSA (THE VIRGIN 
GLORIOUS), 35 

VIRGO INTER VIRGINES (VIRGIN 
OF VIRGINS), 35 

VIRGO SAPIENTISSIMA (MOST 
WISE) or SAPIENTIZ (OF WIS- 
DOM), 35, 36, 89 

VISION OF ST. HELENA, 127 

VISITATION, THE, 67, 138 

VORAGINE, JACOBUS DE, 57 

VOTIVE PICTURES, Carter II and 


assim 
VOX CLEMENTIS IN DESERTO, 67 


WELBECK ABBEY, 128 

WELL OF LIVING WATERS, 46 

VOTIVE PICTURES, Cuwarter II 
passim 

WARRIOR SAINTS, 30, 109, 151 

WESTMINSTER ABBEY, 119 

WHEEL, SPIKED, 22, 25, 03, 95, 96, 
DOS ert 











WHITE, 30 
WINDLASS, 17 
ee NUDE, HOLDING CHILD, 


WOMEN AT THE SEPULCHRE, 
THE THREE. 53 

Se ae OF CHRIST, 19 Footnote, 
5 


YELLOW GARMENTS, 30, 59, 61 


ZACHARIAS, 65 
ZEBEDEE, SONS OF, 59, 62, 140, 143 


SAINTS 


ABBONDIO, D 

ACHILLEUS AND NEREUS, J, 152 
ADELAIDE OF BERGAMO, G.a. 152 
ADELAIDE OF GERMANY, Gaa. 
ADRIAN, 11, 109, 144, P 

Spe OF AUGSBURG, 109, 144, Gf. 


AFRA OF BRESCIA, G.f. 152 

AGLAE, 152 

AGATHA, 11, 86, 104, 107, 108, 109, 110, 
144, Gd. 152 

AGNES, 26, 27, 31, 42, 86, 104, I05, 
106, 108, 144, Ga. 152 

AGNES OF MONTE PULCIANO, 134, 

e.6 

AGRICOLA, 7 

ALBAN, 122, 144, A 

sarriicrs OF VERCELLI, 109, 127, 
134, 

ALBERTUS MAGNUS, 134, Kk 

ALEXANDER OF BERGAMO, 109, 
144, P. 152 

ALEXIS, L, 152 

ALPHEGE, 144, C 

AMADEUS, 109 

AMBROSE, 16. 28, 60, trD 915110956 

ANASTASIA, 108, G.f. 

ANATOLIA, 108 

ANDREA CORSINI, 134, D 

ANDREW, 21, 22, 25, 58-64 passim, 
109, 110, 144, B. 152 

ANGELO, 134, 144, K.c. 

ANIANUS, D 

ANNA OF ANCONA, 109 

ANNE, 33, 44, 62, 127, 152 

ANSANO, 110, 152 

ANSCHARIUS, 109 

ANTERUS, 85 

ANTEONY OF EGYPT, 16, 21, 23, 32, 
42, 90, 91, 94, 110, 712, 775, 1167777, 
126, H 

ANTHONY OF PADUA, 11, 52, 91, 109, 
TO; Fig 770, 1276 1S es 

ANTONINO, 110, 134, C 

APOLLINARIS, 108, 110, D 

APOLLONIA, 11, 82, 110, zzz, 144, 


G.d. 152 

ARCHANGEL GABRIEL, 7, 15, 20, 
25, 27,29, 38, 39, 48-55 passim, 58, 
15280: 

ARCHANGEL MICHAEL,7, 10, 20, 
23, 25, 33, 42, 48-55 passim, 52, 53) 
58, 83, 86, 109, 124, Opptogs 

Che eed RAPHAEL 20, 25, 52, 

58, Q, 152 
ARCHANGEL URIEL, 52, 55, 58 
ARCHANGELSS DHE: 120.8 525 oon 


5550 

ARNOLD, 110 

ATHANASIUS, 75, D 

AUGUSTINE OF CANTERBURY, 
84,122, D., Ka. 

AUGUSTINE OF HIPPO, 11, 19, 24, 
25 ,61, 74-82, 83, 84, 94, 117, 118, 119 
(Rule of): 125-128, D 


BALBINA, G.d. 152 

BARBARA, 11, 22, 47, 51, 86, 93, 90, 97, 
99, 100, 109, 110, 117, 144, G.a; G.f 
152 


BARNABAS, 60-64 passim, 83, B. 152 

BARTHOLOMEW, 58-64 passim, 106, 
144, B. 152 

BASIL THE GREAT, 75, D 

BAVON, 110, 122, O 

BENEDICT, 23, 42, 114-126 (see also 
Tllustrations) 

BENEDICT OF ANIAN, 122, K.a. 

BENEDICT BISCOP, 122 

BENNO, 25, 124, D 

BERNARD OF CLAIRVAUX, 41, 44, 
40,110; A19 F245 125, An Kf. 

BERNARD OF MENTHON, Kas 

BERNARD PTOLOMEI, 125, K.f. 

BERNARDINO DA FELTRE, III 

BERNARDINO OF SIENA, 15, 37, 39, 
rhe ulin wap Bee, EeyA) SVE aro: 
131, K.b. 

BERNARDO DEGLI UBERTI, 124, E 

BIBIANA, 144, G.d. 152 

BLAISE (BLASIUS) 11, 57, 110, D. 

BONAVENTURA, 20, 22, 41, 116, 
131, E 

BONIFACE, 110, 124, D 

BRICE, D 

BRIDGET OF IRELAND, 27, 109, 


120,G.e. 12 
BRIDGET OF SWEDEN, 130, G.e.1. 
BRUNO, 78, 119, 124, 125, A., K.f. 


CANUTE, 109 














CASIMIR OF POLAND, 124, O 

CASSIAN, 108, 144, D 

CATHERINE OF ALEXANDRIA, 
Wdindieion 198 22a See 72 ear 
40, 76, 79, 80, 82, 84, 86, 91, 93, 95- 
99, 108, 109, rrr, rr4, 144, G.a., G-E., 


152 

CATHERINE OF BOLOGNA, (Cate- 
rina dei Vigri), 98, G.e.2 

CATHERINE OF SIENA, 22, 27, 73, 
07,98, 110, r2r, 132, 133, 134, G.e.6 

CECILIA, 11, 76530; 425 55;).86) 1/035 
104-106, 108, 110, 128, G.a; G.f. 152 

as AND NAZAREUS, 114, 144, 
ioe, 

CESAREUS, 152 

CHAD OF LICHFIELD, 221, 122, D 

CHARLEMAGNE, O 

CHARLES BORROMMEDO, 125, E 

CHERON, D 

CHRISTINA, 108, 110, 144, Ga. Gf. 

CHRISTOPHER, 24, 86, 90, OI, 92, 
109, 110, L. 

CHRYSANTHUS, 108, J. 152 

CHRYSOGONUS, 108, 152 

CLAIR, J 

CLARA, 14, 23, 42, 109, 127, 129, 132, 
135, G.e.2 

CLARA OF MONTEFALCO. 120 

CLEMENT OF ALEXANDRIA, 59. 

CLEMENT OF ROME, POPE, 19, 84, 
108, 110, 144, N., 152, 158. 

CLOTILDA, 124, G.a. 

CLOUD, 110" Kas 

COLOMAN, 109 

CORNELIUS, POPE, 108, rr7, 158 

COSMO AND DAMIAN, 8, 16, 17, 
86, 80, 91, 93, 110, 116, r78, 144, J. 

COSTANZO, 110, D 

CRISPIN AND CRISPINIAN, 110, 
144, J: 152 

CRISPINA, 108 

CUNEGUNDA, 109, 119, 124, G.a. 

CUNIBERT, D 

CUTHBERT, 122, D 

CYPRIAN OF ANTIOCH, 108, 177, 
144, C; D. 152 

CYRID 13521, 34507552) 

CYRIL AND METHODIUS, J 


DARIA, 108, 152 

DAVID, 109 

DEMETRIUS, 108 

DENIS, 25, 27, 48, 109, 144, D 

DIEGO OF ALCALA, 132 

DOMINICK, 14, 16, 22, 26, 27, 30, 37, 
425 70; 83" 109) 1105 Wlo;e s77-137, 
132, K.k. 

DONATO, 109, 144, D, 152 

DOROTHEA OF CAPPADOCIA, 104, 
105, 109, rz8, 144, G.a. 152 


EBBA, 122 

EDWARD THE CONFESSOR, 88, 133 

ELEAZAR OF SABRAN, 132, J 

ELISABETH, 44, 45, 65, G.d. 152 

ELISABETH OF HUNGARY, 22, 30, 
109, 123, 130, 132, 735, 135, G.a. 

ELIZABETH OF PORTUGAL, G.a. 

ELOY or ey 109, 110, D 

ENURCHUS, 

ho AND TORPE, 110, 144, 

152 

EPHREM, H 

ERASMUS, 17, 110, rrz, 144, D 

ERCOLANO, 110, D 

ERIC, 109 

ETHELBERT, 110 

ETHELREDA, 122, G.a. 

EUGENIA, 108, 152 

EULALIA, 23, 108, 109 

EUPHEMIA, 27, 108, 110, 144, G.a. 152 

EUSEBIUS, 110 

EUSTACE, 11, 25, 110, 144, P 


FABIAN Vou Se) 80, 84, 85, N 

FAITH, 144 G.d 

peer AND JOVITA, 109, 144, 

5 kee 

FELICE anp NABORRE, P., 152 

FELICITAS, 36, 110, 144, G.a. 152 

FELIX, P 

FELIX OF CANTALICIO, 132, K.b. 

FELIX OF VALOIS, 130, Kaa 

FERDINAND OF CASTILE, 124, O 

FERMO, 110 

FILOMENA, G.d., G.f. 152 

FINA, 80, 84, G.d. 152 

FLORIAN, 23, 144, P 

FRANCESCA ROMANA, 125, G.e. 

FRANCIS OF ASSISI, 175, 15, 16, 
20, 22: 23,20; 21,020) Giws0, 41,42) 
44, 47, 40, 52, 76, 83, 90, 91, 109, rrr, 
115, 116-135, Kb, ro, Kd. 

—_—__————————_ AND DOMI- 
NICK, MEETING OF, 123 

FRANCIS BORGIA, 136, K.a. 

FRANCIS DE PAULA, 129, 132, K.b. 

FRANCIS DE SALES, D 

FRANCIS XAVIER, 20, 136, K.a. 

FREDIANO, 16, 110, D 

FRIDESWIDE, 110 


GABRIEL, See ARCHANGEL GA- 
BRIEL 

GALL, 109 

GAUDENZIO OF NOVARA, D 

GAUDENZIO OF RIMINI, 110, 144, 


D 
GELASIUS, POPE, 88, 102 


166 














GEMIGNANO, 116, 

GENEVIEVE OF BRABANT, &5,G.d. 

GENEVIEVE OF PARIS, a7. 109, 
110, G.b. 

GEORGE, 15, 17, 19, 23, 24, 39, 42, 55, 
82, 88, 91, 100, 102, 103, 109, 110, 
115, 144, P.. 152 

GEORGE CATAPHRACTUS, 109 

GEREON, 109, 110, P 

GERMAIN OF AUXERRE, 28, 110 

GERTRUDE, 110 

pero ide ee AND PROTASIUS, 75, 
109, 110 

GILES [Ok EDINBURGH, 11051125 
225 

GRATA OF BERGAMO, 25, 109, G.a. 
152 

GREGORY THE GREAT, FOPE, 7, 
9, 10, 34, 74-80, 83-85; 110, 122, N 

GREGORY NAZIANZEN, 75 

GUALBERTO, JOHN, or JUAN, or 
GIOVANNI, 19, 22, 26, 124, 135, K.e. 

GUDULA, 27, 109, 113; zr7; Gre: 

GUTHLAC OF CROYDON, 122, K.a. 


HEDWIGA, 109 
HELENA, 19, 20, 122, 128, 133, G.a. 
Bee OF BAVARIA, 109, 119, 124, 


HERMANN-JOSEPH, 129, Kf. 

HERMENGILDUS, P 

HILARION, H. 

HILDA OF WHITBY, 122, G.e. 

HIPPOLYTUS, 108, 110, 144, J, 152 

HUBERT, 24, 25, 110, D 

HUGH OF GRENOBLE, 7, 9, 110, 
124, D, K.f. 

HUGH OF LINCOLN, 124, D 

HYACINTH, 134, K.k. 


IGNATIUS OF ANTIOCH, 144, D 
IGNATIUS LOYOLA, 25, 134, K.a. 
ILARIO or HILARY, 110, H 
ILDEFONSO, 39, 110, 122, C 
ISABELLA OF FRANCE, G.e.2 
ISIDORE, 110, D 


JAMES OF COMPOSTELLA (See 
JAMES MAJOR) 

JAMES MAJOR, 58-64, passim, 78, 80, 
84, 86, 87, 109, 140, 143, B.,M., P., 152 

arene cs 58.64, passim, 140, 

152 

JANUARIUS, 110, D 

JEROME, 15, 19, 20, 22, 27, 37, 41, 47, 
52 aoe 73-80, 82, 83, 85, 87, 08, 99, 
112-135 (see also INDEX of ILLUSTRA- 
TIONS), 179, E., H. 

JOACHIM, 127, 152 

JOB (GIOBBO), H 

JOHN THE BAPTIST) (.2%.036; i : 
39, 42, 43, 44, 45.47, 52, CHAPTER II, 
65-69 passim, 82, 83, 87, 90, OI, 93; 
97,-109, 110; 115, 776, Tre pres 5 zs, 
138, r4z, 152 

JOHN THE EVANGELIST, 20, 14, 15, 
16, 23, 29, 36, 37, 44, 56-64 passim, 
65, 84, 97, 103, 108, 109, 116, 778, rar, 
133, B., 152. 

JOHN CAPISTRANO, 132, K.G. 

JOHN CHRYSOSTOM, sf Se 85, D 

JOHN DE MATHA, 130, K 

JOHN Be Taue (not the eee 
108, P 

JOHN NEPOMUCK, 109, 128, 130, 


JOHN PORT-LATIN, 110 

JOSEPH, 27, 30, 36, 44, 45, 47, 110, 
152 

JOVITA (See FAUSTINO) 

JUAN DE DIOS, 132, 133, K.d. 

JUAN DE LACRUZ. 134 

JUDE (or THADDEUS), 59, B, 152 

JULIA, 109, rr4, Gf. 152 

Mee OF RIMINI, go, 95, 109, 115, 
144 152 

JULIAN HOSPITATOR, 25, 110 

Moyet oF ANTIOCH, 30 , 47, 108, 
144, 

JUSTINA oF PADUA, 93, 110, 144, 
G.a. 152 

JUSTINA AND RUFINA OF 
SEVILLE, 110, 144, G.a, 152 

JUSTINUS, 108 


LAMBERT, 110, D 

LAWRENCE, 7, 11, 20, 21, 42, 61, 
76, 83, 91, 93. 102, 108, 110, 116, 
Tr7, 120144 B52 

LAZARUS, 110, 142, r43, D, 152 

LEANDER, 110, D 

LEO THE GREAT, 75 

LEOCADIA, 110, 152 

LEONARD, 17, 110, Fe Ka; 

LEOPOLD OF ‘AUSTRIA, 100, 124, O 

LIBERALE, 40, 109, 110 

LIEVEN, Ka. 15 

LONGINUS, 15, 20, 21, 49, 109, 110, 


140, O 
LORENZO GIUSTINIANI, 126, 128, 


Raat 

LOUIS BELTRAN, 132 

LOUIS GONZAGA, 136, K 

LOUIS OF FRANCE (LOUIS IX.), 
22, 109, 110, 131, O 

LOUIS OF TOULOUSE, 20, 22, 41, 42, 
44, 76, 83, 88, 103, 116, 127, 128, 131, 
14, DiaO): 

LUCIA, the Bs 104, 107, 108, 110, 111, 
144, Gs 


LUDMILLA, 109 

LUKE, 10, 29, 39, 56-64 passim, 85, 
110, r2r, B. 152 

LUPO, O, 152 


MACARIUS, 112, H 

MAGNUS. 28 

MARCELLA, 110, 152 
MARCELLINUS, J 

MARGARET OF ANTIOCH, 23, 72, 


Bo, 9055 1027-703; 109; G.a.,, 144, 
G.f., 152 
MARGARET OF CORTONA, 110, 


132, G.e., 4 

MARGARET OF SCOTLAND, 102 

MARIA MADDALENA DEI PAZZI, 
134, G.e., 3 

MARINA, G.c. 

MARK, 70, 28, 53, 56-61 passim, 75, 86, 
91, 110, rr4, 116, 118, 121, 144, B, 152 

MARTHA OF BETHANY, 23, 60, 70, 
110, 140, 152 

MARTIAL OF LIMOGES, D 

BEATIN OF TOURS, 102, 109, 110, 

MARTINA, 19, G.d. 152 

MARY, 109 

MARY MAGDALENE, 7, 16, 23, 29, 
32, 36,42, 49. 68-73 passim, 76, 79, 83, 
86, 95, 105, 109, 110, 114, 116, rz7, 
Trss1400 (Gres Gls 152. 

MARY OF AQUISGRANA, 109 

MARY OF EGYPT, 113, 117, G.c. 152 

MATHURIN, 110 

MATTHEW, 70, 19, 25, 30, 56-64 passim, 
87, 121, 144, B. 152 

MATTHIAS, 58-6: passim, B, 152 

MAURELIUS, 144, D 

MAURICE, 82, 109, 110, rrr, 144, P 

MAURUS, 118, 122, K.a. 

MAXIMILIAN, 109 

MAXIMIN, 70, 72, 152 

MAXIMUS, 103 

MERCURIALE, D 

MICHAEL, ARCHANGEL 
ARCHANGEL MICHAEL) 

MINIATO, 110, 144, O, 152 

MODWENA, il Ge 

MONICA, 76, Mile aSos O55. L164 12,0, 
ea SAT e 7 128, G.e. 1 


NABORRE (See FELICE) 

NEOT. K.a. 

NICAISE, D 

NICHOLAS OF MYRA, ST., 47, 86-90, 
92, 93-95, 102, 104, 108, 109, 110, D 

NICHOLAS OF TOLENTINO, ST., 
Powee 2h fo, 83; 125, 126, K.a. 

NILUS OF GROTTO FERRATA, K.a. 

NORBERT, C 


OLAF, 109 

OMOBUONO, WOVr7r7, J. 152 
ONOFRIO, 44, 143, rary, 109) 
OSWALD, 25-0 

OTTILIA, 110, 124, G.e.i. 


PANCRAS, 108, J. 152 

PANTALEON, 144, J. 152 

PATRICK, 109, 120, 126, C. M. 

PAUL, 7, 11, 16, 48, 50, 74, 84, 98, 
101, 108, 110, rar, 144, B. 152 

apes THE HERMIT, 112, 113, rr4, 

126, H 

PAULINA, 108 

PAULINUS, Cc 

PEDRO GONZALES, 134 

PELAGIA, 108 

PERPETUA, 108, G.d. 

PHP Roe cond, tt. note, 25, 30, 47, 
49, 50, 58-64 passim, 76, 78, 79, 82, 
84, 85, 86, 04, 101, 107, 109, 110, r74, 
142, 144, B. N. 152 

PETER OF ALCANTARA ,132, K.b. 

PETER OF CLUNY, 124 

PETER EXORCISTUS, J 

PETER MARTYR @2, 83, 90, 91, 115, 
Ji7 er tor, 132, 134,144; Kok. 

PETER NOLASCO, 130, K.h. 

PETER REGALATO, 132 

PETRONILLA, G.d., G-f. 

PETRONIUS, 16, 19, 26, 99, 109, D 

PHILIP (THE APOSTLE), 58- 64, 144, 
148, B. 152= 

PHILIP (THE DEACON), F 

PHILIP BENOZZI, 129, K.a. 

PHILIP NERI, 119, 125, K.a. 

PHOCAS, J. 

PLACIDUS, 122, F.K.a. 

PLAUTILLA, G.d. 

POLYCARP, 108 

POTITUS, 144, P, 152 

PRAXEDES anp PUDENTIANA, 


G.d. 
PRISCA, 23, 144, G.d. 152 
PROCOPIUS, 25, 109, H. 
PROCULUS, 109, 144, D. P 
PUDENTIANA (See PRAXEDES) 


QUENTIN or QUINTIN, P. 
QUIRINUS, D. R. 


RADEGUNDE, 130, G.a. 
RANIERI, 110, rz2, H. 
OND OF PENAFORTE, 134, 


RAYMOND NONNATUS, 130, E. 
REGULUS, D. 

REPARATA, 110, G.a. 152 
ROCH, 47, 86, 88, 89, 90, 110, M. 
RODRIGUEZ, 130 


(See 


ROMAIN or ROMANO, D 

ROMOLO, 110, 124, 128, D 

ROMUALDO, 122, K.f. 

ROSA OF LIMA, 134, G.a.; G.e. 6 

ROSA OF VITERBO, 132, G.e. 4 

poeAtLS OF PALERMO, 109, 
ide 


SABINA, 108, 144, G.d. 152 
SCHOLASTICA, 23, 119, 122, G.e. 1 
SEBALD, 110, 124, M 


128, 


80, 82, 83, 84, 86-89, 96, 97, 
108, 109, 110, 144, J.L. 

SECUNDUS, 109 

SERICIUS, POPE, 101 

SIGISMOND OF BURGUNDY,727, O 

SIMON ZELOTES, 58-64, 83, B. 152 

STANISLAS, 110 

STANISLAS KOTZKA, 136, K.a 

STEPHEN, 7, 10, 42, 61, 76, 83, 108, 
110, rrr, 144, F. 152 

SUSANNAH, G.d. 152 

SWIDBERT, D 

SWITHEN, D 

SYLVESTER, 23, 24, 85, N 

SYRICUS, 109 

SYRUS, D 


THADDEUS (See JUDE), 59, B 

THECLA, 144, G.d. 152 

THEODORE, 82, 110, P 

THEONESTUS, 110, P 

THERESA, G.e 3 

THOMAS, 58-64 passim,110 144,B.152 

THOMAS A BECKET, C 

THOMAS AQUINAS, 16, 19, 23, 26, 
30, 41, 42, 75, 116, 117, 118, 2A 
123, 131, 134, K.k. 

THOMAS OF VILLANUEVA, 126 

TIBURTIUS, 103 

TORPE, 110, P 


ULRICH, 25, 109, D 

UMILTA, 124, G.e. 5 

URBAN, 103 

URSINUS, 108 

URSULA, 16, 22, 42, 86, 99, 100-102, 
109, 110, 144, G.a., G.f. 152 


VALENTINE, 110 

VALERIA, 108 

VERDIANA, 110 

VERONICA, 78, 19, 140, 146, G.d. 152 

VICTOR OF MARSEILLES, 144, P 

VICTOR OF MILAN, 110, P 

VICTORIA, 108 

VINCENT, 108, 110, 144, F. 152 

ee FERRARIS, 22, 52, 134, 
:k., 

VINCENTIA, 108 

VITALIS OF RAVENNA, 108, P. 152 

VITUS, 109, 110, 127, 144, J. 152 


WALBURGA, 124, G.e.1 


103, 





WENCESLAS OF BOHEMIA, 109, 
124, 127,O0 

WERBURGA, 122, G.e.1 

Mi eae OF AQUITAINE, 110, 


Kae, 
WINIERED, 110 


YVES OF BRITTANY, 110, 132, J 
ZENO, 25, 110, D 





ZENOBIUS, 15, 24, 74, 79, 98, 110, 
ington, 10) 

ZITA, 110 

year MARIOTTO, 74, 
9, 98 

ALEMAGNA, GIOVANNI D’, zo, 32, 
Phi hy (ile 80 

ALEMANNUS, JOHANNES (See 


ALEMAGNA, GIOVANNI D’) 
ALLORI, CRISTOFANO, 160 
h/ ANDREA DEL SARTO, 45, 56, 65, 
69, 76, a ee II4, 124, 129,133; 
135, 139, 1 
VY ANGEL ito? oe Sets toes, 
30, 41, 42, 43, 46, 54, 55, 62, 64, 75, 
90, 1, 104, 116, aie 118, 119, 120, 
23% 124, Tigre 134, eS py 58 
ANTONELLO DA MESSINA, 79, 148 
AVIGNON, SCHOOL OF, 77 


BACCHIACCA, Francesco Ubertini, 
called, 51, 105 

BARTOLO DI PREDI, L527 

BARTOLOMMEO, Fra, 165333099; 
43, 45, 54, 57, 69, 119, 120, 142 

/ BASAITI, MARCO, 79, 82, 113, 179, 
140, 143, 146 

BATONI, POMPEO, 71, 73 

BELLINI, GENTILE, 47 

BELLINI, GIOVANNI, 10, 26, 37, 47, 

EY Si 127, 146 

j BELLINI, JACOPO, 4 

BENVENUTO DI GIOVANNI, 32 

BICCI DI LORENZO, 90, 95 

BLES, HERRI Met DE, Frontispiece, 

fe3s, 138, 139, 140, 
BOCCACCINO, BOCCACCIO, 47 

BOL, FERDINAND, 160 

y BOLOGNESE SCHOOL (General), 109 








SEBASTIAN, 11, 15, 39, 44, 40, 53, 76, 


BONFIGLI, BENEDETTO, 35 
’ BONVICINO, ALESSANDRO 
l[, . MORETTO) 

BORDONE, PARIS, 80, 84 
Y BORGOGNONE, AMBROGIO, 42, 76, 


82 

BOSCH, HIERONYMUS (JEROME), 
138, 142,158 

BOTTICELLI, SANDRO, 15, 30, 35, 
30, 43, 44, 54, 56, 65, 68, 81, 83, 136, 
139, 102 

BOTTICINI, FRANCESCO, 43, 45, 
46, 49, 52, 08, 83, 127, 134 

BOUTS, DIRK, or THIERRY, 64, 


144 
BRUEGHEL, PETER, THE ELDER, 
138, 160 
BRUYN, BARTEL, 36 
BUFFALMACO, 124 
BURGKMAIER, HANS, 100 


CALLISTO DA LODI, 107 
CALLOT, JACQUES, 85 
CAMPAGNOLA, GIULIO, 68 
, CANO, ALONZO, o2 
fr CARACCI, ANNIBALE, 84 
h Eee Tair: MICHELANGELO 
, 144 
CARDI DA CIGOLI, LUDOVICO, 71, 


73 
Y CARIANI, GIOVANNI, 127 
vy CARPACCIO; VITLORE, 16, 17, ror; 
102, 119, 136 
CATENA, VICENZO, 74, 79 
CHARONTON, ENC VERRAND 
Frontispiece, 7, 9, 
CIGOLI, LUDOVICO CARDI DA 
(See CARDI) 
* CIMA DA CONEGLIANO, 16, 44 
* CIMABUE, 12, 14. 44, 120 
COLOGNE SCHOOL (General), 100 
CONINXLOO, 46 
CONTARINI, GIOVANNI, 74 
CORNELISZ OF AMSTERDAM, 
JACOB, 72 
~ CORREGGIO, 28, 43, 47, 48, 51, 71, 
73, 97, 146 
COSSA, FRANCESCO, 48 
COSTA, LORENZO, 16, 22, 26, 87 
COYPEL, NOEL, 62 
CRANACH, LUCAS, 96 
’ CREDI, LORENZO DI, 38, 39, 68, 90, 
95 
Y CRISTUS, PETER, 51, 66, 90 
v CRIVELLI, CARLO, 8, 45, 48, 59, 63, 
OORT LALO 707 7S) S201 gO 


v DADDI, BERNARDO, 93, 96 
DARET, JACQUES, 67 
DARIO DI GIOVANNI, 123 
eee BEROED: 17, 2022547 00; 
Tog 
DE Bris, HERRI MET (See BLES) 
DOLCI, CARLO, 105, 107 
DOMENICHINO, 81, 106, 124 
DOMENICO DI BARTOLO, 35 
DONATELLO, 73 
v DUCCIO DI BUONINSEGNA, 12, 14, 
44, 47, 53, 120 
DURER, pares DoS A Tors 
74, 79, 83, 85, 87, 
DUTCH SCHOOL, SEARLY (16TH 
CENT.) (Genera!) 58, 82 


\ era a SCHOOL (General), rzr, 


FISCHEL, OSKAR, Critic, 84 
FLEMISH SCHOOL (General), 17, 26, 
44, 58, 69, 82, 124 
v FLORENTINE SCHOOL (General), 
117 
Y FOPPA, VINCENZO, 138 
FOUQUET, JEAN, rrr 
’ FRANCIA, tb, Francesco Raibolini, 
called, 15, 39, 76, 83 
FRENCH SCHOOL (General), 77, 124 
FURINI, FRANCESCO, 73 


GADDI, AGNOLO, 16, 89, 138 

GADDI, TADDEO, 15, 39, 136 

ae Benvenuto Tisi, called, 
76, 83, 126 

GEERTGEN TOT SINT JANS, 21, 
67, 138, r4z 

- GENTILE BA FABRIANO, 41, 47 

GERMAN SCHOOL (General), 70, 14, 
18, 26,45, 58, 59, 63, 88, 96, 100, 124 

GHIRLANDAJO, DOMENICO, 56, 
59, 62, 79, 80, 84, 121, 136, 137, 138 

GHIRLANDAJO, RIDOLFO, 136, 146 

GIAMBONO, 37 
GIORGIONE, 44, 4o 

Y GIOTTIESCHI,) 77157138 

GIOTTO, 8, 11, 12, 14, 29, 31, 41, 42, 
62, 64, 99, 120, 136, 142 

GIOVANNI DELLA CHIESA, 24, 25 

GIOVANNI DI PAOLO, 83, 125, 126, 
128, 142, 158 

GIROLAMO DAT LIBRI, 15, 44 

GODEFROI DE CLAIRE, 29 

GOSSAERT, JAN (J. DE MABUSE), 48 

GOZZOLI, BENOZZO, 55, 131, 134 

GRECO, EL, 737 

GRUN, HANS BALDUNG, 27, 59 


GRUNEWALD, MATTHIAS, 117 
GUERCINO, 71, 84 
GUIDO DA SIENA, 12, 43 


HOLBEIN, HANS, 173, 24, 48, 88, 99, 
123 


(See 














167 





HOLLAR, WENCESLAS, 122 
HOWLETT, YVETTE, 140 


ISENBRANDT, ADRIAN, 47 
ITALIAN SCHOOLS, CENTRAL, 44 


v ITALIAN SCHOOLS, NORTH, 36, 44 


JACOBELLO DEL FIORE, 41, 43, 50, 


55 
JACOPO DEL SELLAJO, 30 
JUSTUS OF GHENT, 64 


LEONARDO DA VINCI, 29, 32, 43, 
54, 56, 59, 60, 74, 120 
LE SUEUR, EUSTACHE, 125, 146 


“ LIPPI, FILIPPINO, 45, 46, 124, 148 
{MABE 


Fra LIPPO; 28, 39, 41, 
A591, 09, LOLs LOZ, LiOlernso 

LOMBARD SCHOOL (General), 16 

LORENZETTI, AMBROGIO, 16 

LORENZO MONACO, 18, 19, 29, 119, 
124 

LORENZO DI NICCOLO, 26, 107 

LOTTO, LORENZO, 43 

LUCAS VAN LEYDEN, 103, 112, r47, 


142, 158 
LUINI, BERNARDINO, 29, 
117, 138, 140, r4z 


MABUSE (Maubeuge), JEAN DE, 45 
(See GOSSAERT) 

MACRINO D’ALBA, 23 

MANTEGNA, 10, 20, 21 footnote, 27, 
37, 87, 92, 138, 148, 158 

MANTUAN SCHOOL (General), 25 

MARA'ITA, CARLO, 16, 38, 39 

MARCANTONIO, RAIMONDI, 52, 


55, 146 
MARIETTO DI NARDO, 24 
MARTINI, SIMONE, 127 
MASACCIO, 8, 17, 28, 33, 40, 99, 142, 


42, 


54, 90, 


148, 160 
MASOLINO, 8, 28, 93, 99, 142 
MASTER OF THE “BAMBINO 
VISPO,”’ 4o, 41 


MASTER OF THE BARTHOLOMEW 
ALTAR, 103, 104, 106 

MASTER OF “THE DEATH OF 
MARY”, 21, 138 

MASTER OF FLEMALLE (MAITRE 


DE ), 67 
MASTER OF THE ‘ HOLY FAMILY,” 


105 

MASTER OFF OLE Linke (OF 
MARY,” 21, 46 

MASTER OF “THE LIFE OF ST. 
CECILIA,” 096 

MASTER OF THE LYVERSBURG 
PASSION, 137 

MASTER OF sT. SEVERIN, 66 

MASTER OF THE “VIRGO INTER 
VIRGINES,”’ 21 

MATSYS, QUENTIN, 37, 46, 56, 136, 





fi. 137, 144 
' MATTEO DI oe 138, 130 


MAZZOLINO, 10, 140, 
ere WILHELM ae COLOGNE, 


MEISTER VON MESSKIRCH, 33, 34 
MELONI, MARCO, 79 
MELOZZO DA FORLI, 38, 39 
MEMLINC, HANS, 17, 44, 48, 40 .53, 
006, 97, 99, 100-102, 117, 127, 142 
MEMMI, See MARTINI 
MICHELANGELO, 21, 33, 51, 53, 54; 
59, 61, 84, 92, 142, 158, 160, 162 
MILANESE SCHOOL (General), 29, 81 
MORETTO OF BRESCIA, 16, 30, 41, 
42, 74, 84, 04, 98, 99, 102, 104, 107 
MORTO DA FELTRE, 93 
MURANO SCHOOL (General), 32 
MURILLO, ESTEBAN, 4o, 41, 54, 
130, 132, 133, 135 


NEGROPONTE, Fra ANTONIO DA, 
119 

NICCOLO D’ALUNNO, 385 

NICCOLO DA FOLIGNO, 35 

NICCOLO DI LORENZO, 19 


OGGIONE, MARCO D’, 129 

ORCAGNA, ANDREA, 42, 87, 142, 148 

OUWATER, or OUDEWATER, 
ALBERT VAN, 143 


PACHECO, FRANCISCO, 41 
PADUAN SCHOOL (General), 25 


PALMA VECCHIO (JACOPO 
PALMA), 100 
PARENTINO (or PARENZANO), 


BERNARDO, 79 
PATINIR, JOACHIM, 139, 141 
nares PIETRO, 36, 37, 52, 83, 
88, 124, 138 
PERUZZI, BALDASSARE, 160 
PESELLINO, FRANCESCO, 91 
PETER ALEMANUS, 3 
Cine FRANCESCO SORENTINO, 


PIERO hae FRANCESCA, 64, 
138, 13 

PIETRO DI DOMENICO, 138, r4r 

PIETRO ee GIOVANNI D'AM- 
BROGIO, o 

PI OReCaIO, BERNARDO, 17, 
23. 41,43, 70% 1 115, 116, 122 

PISANELLO, VITTORE, 115 
POLLAJUOLO, ANTONIO, 84, or, 92 

PORDENONE, GIOVANNI, 126, 128 

POURBUS, FRANCOIS, 80 

PREVOST, JAN, 20, 142 


PROCACCINI, GIULIO, 45 
PRUDHON, PIERRE PAUL, 41 


RAFFAELLINO DEI CARLI, 20, 22? 


41 

RAPHAEL SANZIO, 15. 16, 23, 32, 36, 
39, 40, 41, 43, 48, 57, 52, 53, 54, 55 
See List oF ILLUSTRATIONS, 57, 58, 
6331 /65,00%, 07, 70, G5, 60" LOO mOss 
104. 115, 716, 119, 120, 138, 130, 140, 


I4 
REMBRANDT VAN RYN, HAR- 
MEN, 10, 142, 158, 160, 162 
RENI, GUIDO, 41, 73, 77, 112, rr4, 136 
RIBERA, JOSE DE, Se 106, 132 
ROBERTI, ERCOLE, 8 
ROMANINO, GIROLAMO, 88 
ROSSELLI, COSIMO, 38, 49 
RUBENS, PETER PAUL, RSS, Meee fe 
82, 105, 120, 140 


SACCHI, ANDREA, 80, 84, 122, 124 
SACCHI, PIER FRANCESCO, 77 

SAN SEVERINO, LORENZO DA, 97 
SANTA CROCE, GIROLAMO DA, 87, 


88, 04, 95 

SANTI, GIOVANNI, 37, 79 

SASSETTA, STEPHANO DI GIO- 
VANNI, 129 

SCHONGAUER, MARTIN, 14, 52, 

138 

SEBASTIANO DEL PIOMBO, 107 

SIGNORELLI, LUCA, 53, 73, 124, 142 

SODOMA, IL, Giovanni Bazzi, called, 
53, 133, 134, 148 

SOLARIO, ANDREA, 34, 43 

SPAGNA, LO, 42 

Stray ak f aaeene (General), 31, 41, 
6. 

SPINELLO "ARETINO, 7I, 124 


arty ae GIANBATTISTA, 20, 107, 
Tg25 13. 

TINTORETTO, IL, Jacopo Robusti, 
open 69, 91, 92, 97, 103, 106, 142, 


162 
TISI, BENVENUTO, 23 
TITIAN, 14, 65, 66, 68, 91, 132, 137, 
138, 140, 142 
TOM RING, LUDGER, 13 
TRAINI, FRANCESCO, 172, 113, 121 
TURA, COSIMO, 37, 78, 82, 83 


UMBRIAN SCHOOL (General), 65 


VAN DER GOES, HUGO, 72, 158 

VAN DER MEIRE, GERARD, 148 

VAN DER WERFF, ADRIAN, 73 

VAN DER WevpeN. ROGER, 10, 
21, 66, 80, 142, 16 

VAN DYCK, ANTHONY, 69, 83, 129, 


162 
VAN EYCK, JAN, 17, 517, 82, 96, 104, 
ATS Lee. 
VAN EYCK BROTHERS, 35, 36, 55 
VAN ORLEY, BAREND, 21, 128 
VAN SCOREL, JAN, 70 
VASARI, GIORGIO (Historian, Critic 
and Painter), 84, 92, 120 
VECCHIETTA, LORENZO, 74, 121 
VELASQUEZ, DIEGO, 29, 41, 112 
VENETIAN SCHOOL (General), 44, 


60, 75 
VEROCCHIO, ANDREA, 25, 32, 52, 54 
VERONESE, PAUL, 14, 19, 47, 69, 
71, 84, 117, 128, 140, 143 
VITI, TIMOTEI, 39, 70, 73, 105 
VIVARINI, ALVISE, 40, 127 
Viv AREY ANTONIO, 32, 41, 58, 77, 
) 
VIVARINI, BARTOLOMMEDO, 82 
VON CORNELIUS, ro 
VOUET, SIMON, 90 


WHALL, CHRISTOPHER, 121 
ZAGANELLI DA COTIGNOLA, 111 
ZENALE, BERNARDINO, 107 


ZURBARAN, FRANCISCO DE, 125, 
I35 


MUSEUMS 


and GALLERIES 





AMSTERDAM: 
RIJKSMUSEUM, 70 

ANTWERP MUSEUM, 21, 51, 56, 144, 
148 


BERLIN MUSEUM, 21, 37, 43, 44, 
45, 46, 40, 56, 65, 00, 67, 68, 72, 70, 
78, 80, 82, 84, 87, 88, 100, ror, 102, 
104, 105, 107, rrr, 112, rr4, 123, 134, 
135, 138, 143, 146, 160 

BOLOGNA MUSEUM (PINACO- 
TECA) 15.6 16; 220 7041155, 7O;eoos 
104 

BRESCIA: 

MARTINENGO GALLERY, 41, 95 

BRUGES: 

HOSPITAL OF ST. JOHN, 906, 97, 
100, ror, 102, I17 

MUNICIPAL MUSEUM, Ae Omees 
47, 121, 


BRUSSELS MUSEUM, 2ON1S65 237 








CAEN (FRANCE) MUSEUM, 138 
CHANTILLY: 
CONDE MUSEUM, 43, 129 
COLOGNE 
WALLRAF- RICHARTZ MUSEUM, 
21, 105 


DARMSTADT GALLERY, 13 
DRESDEN GALLERY, 47, 48, 51, 712, 


06, 138 
DUBLIN GALLERY, 91 


FLORENCE: 
ACADEMY, 32, 36, 37, 41, 42, 52, 
64, 65, 83, 91, 107, 127, 134, 135, 


158, 

ALLESSANDRO PALACE, 93 

PITTI PALACE, 43, 45, 46, 54, 57, 
58, 71, 76, 78, 83, 107, 160 

RICCARDI PALACE, 55 

UFFIZI GALLERY, 29, 35, 36, 38, 
39, 41, 43, 51, 55, 64, 72, 124, 133; 
138, 142, 162 

FRANKFORT: 
STAZDEL INSTITUTE, 74 


HAGUE, THE, 
MAURITZHUIS, 10 


LEYDEN MUNICIPAL GALLERY, 


158 
LONDON: 

BRITISH MUSEUM, 58 

NATIONAL GALLERY, 10,19,26,38, 
39, 41, 42, 68, 71, 73, 74, 70, 78, 
79, 83, 84, 90, OI, cis UTS, 127, 120, 
138, EGO) LAT, of 46, 

VICTORIA & ALBERT MUSEUM, 
140, 146 


MADRID: 
ACADEMY OF FINE ARTS, 135 
ESCURIAL, 53, 142 
PRADO, 53, 67, 137, 138, 142 
MILAN: 
AMBROSIANA LIBRARY, 17 
BRERA, 10, 37, 39, 44, 48, 59, 74, 77, 
79, 117, 136, 138, 130, 143 
MODENA GALLERY, 79 
MUNICH GALLERY, 24, 37, 45, 60, 
09, 103, 104, ro6, rrr, 123, 128, 133, 
137, 142, 162 


NEW YORK: 
METROPOLITAN MUSEUM OF 
ART, 13, 15,16, 37, 43, 44, 45, 47, 51, 
S56; 72, 13s 19,1 91,200,107, 92, 07. 
07, 113, 116; 715,270, 0130, a0) 
137. 


OXFORD: 
BODLEIAN LIBRARY, 90 


PALERMO: 
CAPELLA PALATINA, 53 
MUSEUM, 46 

PARIS: LOUVRE, 14, 16, 22, 23, 31, 34, 
39, 40, 41, 42, 43, 45, 46, 40, 51, 58, 
68, 69, 74, 79, 86, 88, 90, 91, 95, 90, 
07, 98, 703; 104, T7717, 737, 134, 138; 
140, 142, 143, 144, 146, 158 

PERUGIA: 
CATHEDRAL, 53 
LIBRARY, 52 

PISA: 

ace, SANTO, 172, 113 
RUDOLPHINUM, 138 


ROME: 
BORGHESE PALACE, 36, rrr 
COLONNA GALLERY, 35 
CORSINI GALLERY, 16, 38, 39 
VATICAN, 16, 40, 41, 42, 43, 71, 
74. 78s-Sly LIZ, 115, 720, T22. (see 
also SISTINE CHAPEL), 140 


SAN GEMIGNANO: 

PALACE OF THE PODESTA, 122 
SEINA: 

ACADEMY, 27, 139, 141, 142,148,158 

PUBLIC LIBRARY, 1217 
STUTTGART GALLERY, 16 


TODI: 
PALAZZO PUBBLICO, 42 
TURIN GALLERY, 30 


VENICE: 

ACADEMY, 16, 20, 37, 41, 42, 43, 
44, 47, 48, 50, 58, 66, 80, 87, 93, 
TOF, 102; 126, 127, 128; 1365 1975, 
138, 140, 141, 143, 146 

CORRER MUSEUM, 37 

DUCAL PALACE, 97, 103 

VERONA: 
CIVIC MUSEUM, 45 
VIENNA: 

ALBERTINA, 21 

BELVEDERE, 30, 81, 82 

IMPERIAL GALLERY, 33, 48, 40, 
129, 138, r4r, 160 

LICHTENSTEIN, 112 


WASHINGTON, D.C.: 
U. S. NATIONAL MUSEUM, 24 
WORCESTER (MASS.): 
MUSEUM, 19, 26 





CATHEDRALS 
ChieRGriEs 


INSTITUTIONS 





ANTWERP CATHEDRAL, 120, 140 
ASSISSI: LOWER CHURCH, 11 


BEVERLEY MINSTER, 120 
BOLOGNA 

st DOMENICO, 120 

S. PETRONIO, 87 
BRESCIA: 

S. AGNESE, 107 

S. CLEMENTE, 16, 84, 98, 99, ro4 
BRUGES: 

NOTRE DAME, 38 

SAINT-SAUVEUR, 80, 148 


CAGLI: 

S. DOMENICO, 37 
CASTELFRANCO, 44 
CITEAUX, 119 
CLAIRVAUX, 119 
CREMONA: 

ST. AGOSTINO, 83 

S. SIGISMONDO, 120 


DANTZIG: 
S. MARIA, 53 


FIESOLE: 
S. ANSANO, 30 
SAN MARCO, 43, 116, 178, 131 
FLORENCE: 
ANNUNZIATA, 129, 139, 140 
MADONNA DEL CARMINE 
EO CHAPEL), 120, 
138, 16 
OGNISSANTI REFECTORY, 56, 
59, 62, 76, 79 
o7 CROCE, 29, 64, 120; (BARON- 
CELLI CHAPEL, 136) 
S. GEMIGNANO, 80, 84 
S. MARIA NOVELLA, 17, 38, 120, 
136, 137, 138, 148 
S. MINIATO, 92, 138 
S. SALVI, 56, 119 


S. TRINITA, 119, 121 


GHENT: 
ST. BAVON, 35, 36, 55, 96, ro4, 113, 


ZLZ. 
GRENOBLE: 
GRANDE CHARTREUSE 119 


LODI, 24, 25 
LOUVAIN: 
ST. PIERRE, 64 


MARSEILLES: 
ST. VICTOR, 21 

MILAN: 
S. MARIA DELLE GRAZIE, 60, 120 
S. SIMPLICIANO, 42 

MUNICH: LUDWIGSKIRCHE, 10 


ORVIETO CATHEDRAL, 142 


PADUA: 
ARENA, 136 
EREMITANI, 92, 120 
PARIS: 
_ SAINTE-CHAPELLE, 22 
ST. VINCENT-DE-PAULE, 108 
PAVIA: 
CERTOSA, 119 
S. AGOSTINO, 120 
PERUGIA: 
S. FIORENZO, 35 


PISA: 
S. CATERINA, r21 


RAVENNA, 11, 21, 33, 54 
S. AGATHA, 54 
S. APOLLINARE-IN-CLASSE, 21 
S. APOLLINARE NUOVO, 108 
S.VETALES LL 
ROME: 
ARA-COELT, 120 
CERTOSA, 119 
S. AGNESE, 104 
S. CLEMENTE, 58, 03, 98 
SS. COSMO E DAMIANO, 8, 58 
e LORENZO, 75 
S. LUIGI DEI FRANCESI 
(St. Louis of France), 144 
SS. MARIA-SOPRA-MINERVA, 120 
S. MARIA DELLA VALLICELLA, 
119 
S. PIETRO-IN-VINICOLE 162 
Sea CHAPEL, /215732,,.59; 102, 


160 

ST: Torn LATERAN, 36 
SEVILLE CATHEDRAL, 130 
SIENA: 

DELLA FONTEGIUSTA, 160 

REFUGIO, 35 

S. AGOSTINO, 138 

S. DOMENICO, 133 

S. FRANCESCO D’ASSISI, 127 


TREVIGLIO: 
S. MARTINO, 107 


168 





VENICE: 
DELLA SALUTE, 91 
GESUATI, CH. OF THE, or 


MADONNA OF THE ROSARY, 


132 
MADONNA DELL’ORTO, 92, 106, 
142, 162 
S. AMBROGIO CHAPEL OF THE 
FRARI, 82 
SS. GIOVANNI E PAOLO, 132 
S. MARIA FORMOSA, 100 
es ROCCO, 89 
ZACCHARIAS, 79 
VERONAS 
S. ZENO, 148 is 
VILLENEUVE-LES-AVIGNON 
CARTHUSIAN MONASTERY, 
Frontispiece, 8, 41 


PRIV A 
COLLECTORS 


and DEALERS 


CATHOLINA LAMBERT, 02, 96, 135 
COTILS, GEORGE, Esq., 55, 160 


DE BLES, Major ARTHUR, go, 124, 


143, 162 
DUKE OF NORFOLK (Castle How- 
ard), 48 


EHRICH GALLERIES, 24, 26, 36, 37, 
40, 45, 51, 77, 87, 04, 105, 120, 131, 
133, 135, 130, 137, 1 


FRIEDSAM, Colonel MICHAEL, 83, 
125 


GOLDSCHMIDT GALLERIES, 63 


ei ane EMINENCE CARDI- 

I 

HENNIKER -HEATON, RAYMOND, 
Esq., 19 


JOHNSON COLLECTION, PHILA- 
DELPHIA, 139 


KAHN, OTTO, Esa., 16, 4. 
KAUFMANN COLL ECHION, Berlin, 
1 
KENNEDY & CO., 68, 79, 85, 115 
rR GALLERIES, 74, 
TIL, P2302 
KNOEDLER & CO., 47, 52 


LEHMANN, PHILIP, Esq., 50 
O’MALLEY’S BOOKSTORE, Inc., 120 


PARISH WATSON & CO. 
PLATT, DAN FELLOWES, Esa., 32, 
90, 105 


SALOMON COLLECTION, &8& 
hie Wren Captain E. 
¥5 90, 9 
SUTTON, Rev. ARTHUR (Brant 
Broughton), 49 


THAW, Mrs. BENJAMIN, 46 
WANTAGE, The Lady, 90, 124 


WEBER COLLECTION, Hamburg, 60 
WILDENSTEIN & CO., 62 





ERRORS AND 


OMISSIONS 


(Provisional) 





Page 28. Foot of 2nd Column. For MAs- 
OLINo (1403-1440) read (1383-1445), 


Page 39. Foot of 2nd Column: For Srx- 
tus IX, read Sixtus IV. 


Page 40. Caption: For 5), read 4) 


Page 47. Caption: For 7) and 8), read 
8) and 9) 


Page 34. Top of 2nd Column: “I can 
RECALL NO EXAMPLE IN ITALIAN ART” 
is an incomprehensible error, for there 
are three examples in this book, on 
Pages 53 (Signorelli); 68 (Botticini) ; 
and 76 (Andrea del Sarto.) And there 
are numerous examples in every im- 
portant gallery in the world !! 


Page 49. Fig. 3: Sr. LIBERALE, as 
the saint on the left is generally 
called, is more likely St. George in 
armor and with a banner, but with- 
out his usual dragon. 


7 1 ow a a 
” 

















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IMT i ue 


1 5573 





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